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

Find me in my field of grass, mother nature's bon, swaying daisies sing a lazy song beneath the sun,

Ooo, ooo, ah, mother nature's son

Everybody's Got Something To Hide Except Me And My Monkey

This song by Lennon was originally titled, "Come On, Come On." It was written to describe in a clear fashion, his relationship with Yoko, indicating that they had nothing to hide. A great song , with great guitar riffs.

Come on, come on, come on, come on, come on is such a joy, come on is such a joy

Come on it take it easy, come on is take it easy, take it easy, take is easy

Everybody's got something to hide, except for me and my monkey

Hah, the deeper you go, the higher you fly, the higher you fly, the deeper you go

So come on, come on, come on is such a joy, come on is such a joy

Come on it make it easy, come on is make it easy, take it easy, take is easy

Everybody's got something to hide, except for me and my monkey

Your inside is out, and your outside is in, your outside is in, and your inside is out

So come on, ha, come on, ha, come on is such a joy

Come on is such a joy, come on it make it easy, come on is make it easy, take it easy, take is easy

Everybody's got something to hide except for me and my monkey, come on, come on, come on, come on...

Sexy Sadie

This is a great song by Lennon, which describes his total dissatisfaction with the Maharishi. While at his retreat, it has been said that the Maharishi attempted to rape Mia Farrow. Once The Beatles learned of this, they immediately went to the Maharishi, and Lennon announced they were all leaving. The Maharishi asked why? Lennon said, "If you're so cosmic, you'll know why." As originally written, some of its lyrics were considered obscene, and had to be refined. Lennon had used the Maharishi's name, but had to change it for fear of being sued. But, Sexy Sadie is the Maharishi. Needless to say, that was the end of the Maharishi and The Beatles relationship.

Sexy Sadie what have you done, you made a fool of everyone

You made a fool of everyone, sexy Sadie, ooh, what have you done

Sexy Sadie you broke the rules, you laid it down for all to see

You laid it down for all to see, sexy Sadie, ooh, you broke the rules

One sunny day the world was waiting for a lover

She came along to turn on everyone, sexy Sadie, the greatest of them all

Sexy Sadie, how did you know, the world was waiting just for you

The world was waiting just for you, sexy Sadie, ooh, how did you know

Sexy Sadie, you'll get yours yet, however big you think you are

However big you think you are, sexy Sadie, ooh, you'll get yours yet

We gave her everything we owned, just to sit at her table, just a smile would lighten everything,

Sexy Sadie she's the latest and the greatest of them all, ha, she made a fool of everyone, sexy Sadie,

Ha, however big you think you are, Sexy Sadie

Helter Skelter

Unfortunately, the song Helter Skelter, just like Piggies, has been linked to Charles Manson in the killings of Sharon Tate and others in 1969, but has nothing at all to do with anything like that. On July 18, 1968, Paul and the other three Beatles were in the studio at Abbey Road, and Paul wanted to write a real rockin' song that would shock everyone. He got the idea from a newspaper review of a new song by "The Who," where their song received great reviews. Wanting to compete, Paul wrote this one. The name Helter Skelter is a roller coaster in England, described there as a spiral slide. If one knows this information, the song makes perfect sense - how Manson misinterpreted the lyrics again is a mystery, except for the fact that he was indeed quite deranged. In Manson's mind, the phrase, "coming down fast," meant to him that the American radical conflict was soon to arrive. The murderers, as they did with the words "pig" and "piggy," wrote "Helter Skelter" on the walls with the victims blood. It also didn't help the song much when the Los Angeles District Attorney, Vincent Bugliosi, who prosecuted the case, named his best-selling book Helter Skelter. When I get to the bottom I go back to the top of the slide, where I stop and turn and I go for a ride.

Till I get to the bottom and I see you again, yeah, yeah, yeah, do you don't you want me to love you,

I'm coming down fast but I'm miles above you, tell me tell me, come on tell me the answer, and you may be a lover,

But you ain't no dancer, go helter skelter, helter skelter, helter skelter, yeah

I will you won't you want me to make you, I'm coming down fast but don't let me break you

Tell me tell me tell me the answer, you may be a lover but you ain't no dancer

Look out, helter skelter, helter skelter, helter skelter, yeah, look out cause here she comes

When I get to the bottom, I go back to the top of the slide, and I stop and turn, and I go for a ride

Till I get to the bottom and I see you again, yeah, yeah, yeah, do you don't you won't you want me to make you

I'm coming down fast but don't let me break you,

Tell me tell me tell me the answer, you may be a lover but you ain't no dancer

Look out, helter skelter, helter skelter, helter skelter, yeah, hu,

Helter Skelter, she's coming down fast, yes she is, yes she is, coming down fast

Long Long Long

Written while George was with the others in India, on the surface, this song appears to be about the loss then regained love of a girl. But, the "you" George refers to was not any girl, nor his wife Patti, but rather God. George's devotion at this time to his religious beliefs conflicted with the devotion he had to his wife, thus was the beginning of their marital problems, eventually leading to their breakup.

It's been long long long time, how could I ever have lost you, when I loved you

It look a long long long time, now I'm so happy I found you, how I love you

So many tears I was searching, so many tears I was wasting, oh, oh

Now I can see you be you, how can I ever misplace you, how I want you

Oh, I love you, you know that I need you, ooh, I love you

Revolution 1

During what was known as the Spring of Revolution in March 1968, thousands of people marched in protest on the American Embassy in London's Grosvenor Square, and Lennon watched the event from his Weybridge home. This song, like "Back In The USSR," was another where the title was deceptive. Lennon was not advocating violent revolution, but rather was saying the song was about a person who was pressured from revolutionaries to declare his allegiance. Because it was misinterpreted, Lennon was approached by many Leninist, Trotskist, and Maoist groups for financial and moral support. Lennon's position was that he believed that the only worthwhile revolution had to come about from spiritual change and not violence. On this slow album version, Lennon was still somewhat undecided on his exact position, so after the line, "count me out," you hear the word "in." So was he in or out? When the fast version of "Revolution" was released as the B side of the "Hey Jude" single, the word "in" was omitted, whereby stating clearly that he was "out." In a later response about this, Lennon said, "Count me out if it's for violence. Don't expect me on the barricades unless it's with flowers."

You say you want a revolution, well, you know, we all want to change the world

You tell me that it's evolution, well, you know, we all want to change the world

But when you talk about destruction, don't you know that you can count me out (in) Don't you know it's gonna be all right, don't you know it's gonna be all right

Don't you know it's gonna be all right, ah

You say you got a real solution, well, you know, we'd all love to see the plan

You ask me for a contribution, well, you know, we're doing what we can

But when you want money, for people with minds that hate, all I can tell is brother you have to wait

Don't you know it's gonna be all right, don't you know it's gonna be all right

Don't you know it's gonna be all right, ah

You say you'll change the constitution, well, you know, we all want to change your head

You tell me it's the institution, well, you know, you better free you mind instead

But if you go carrying pictures of chairman Mao, you ain't going to make it with anyone anyhow

Don't you know it's gonna be all right, don't you know it's gonna be all right

Don't you know it's gonna be all right, ah ah ah ah ah ah ah ah ah ah

All right, all right, all right, all right, all right, all right, all right, all right, all right

Ah ah ah ah ah ah ah ah, all right, all right

Honey Pie

Paul grew up listening to songs that sounded like this that his father, James used to play. In a tribute to his father, Paul wrote this saying that he always liked this type of song. Like "Helter Skelter and Piggies," Manson believed this song was also written for him. He construed the line "magic of your Hollywood song," to be directed to him because he lived in Los Angeles.

She was a working girl, north of England way, now she's in the big time, in the USA

And if she could only hear me, this is what I'd say

Honey pie, you are making me crazy, I'm in love, but I'm lazy, so won't you please home

Oh, Honey Pie, my position is tragic, come and show me the magic of you Hollywood song

You became a legend of the silver screen, and now the though of meeting you, makes me weak in the knee

Oh, honey pie, you are driving me frantic, sail across the Atlantic

To be where you belong, honey pie, come back to me

Will the wind that blew her boat across the sea kindly send her sailing back to me

T. T. Tee, Now honey pie, you are making me crazy, I'm in love but I'm lazy

So won't you please come home, honey pie, come back to me

Come, come back to me, honey pie, ha, ha, ha, honey pie, honey pie

Savoy Truffle

One of my favorite songs by George, for two reasons. First, I love chocolate, and second, it's a really cool song. Harrison wrote in as a playful tribute to his close friend Eric Clapton, who was a chocoholic. George saw a box of chocolates at Clapton's house, where the cover read, Mackintosh's Good News Double Centre Chocolate Assortment. Upon checking out the names of the various chocolates, George decided to write the song. All the names used in the lyrics were authentic from Mackintosh's, except cherry cream and coconut fudge, which George made up to fit the song.

Crème tangerine and montelimat a ginger sling with a pineapple heart, a coffee dessert yes you know it's good news

But you'll have to have them all pull out after the Savoy Truffle

Cool cherry cream and a nice apple tart, I feel you taste all the time we're apart

Coconut fudge really blows down those blues, but you'll have to have them all pull out after the Savoy Truffle

You might not feel it now but when the pain cuts through, you're gonna know and how

The sweat is gonna fill you head, when it becomes too much, you'll shout aloud

But you'll have to have them all pull out after the Savoy Truffle

You know that what you eat you are, but what is sweet now turns so sour

We all know ob-bla-di-bla-da, but can you show me where you are

Crème tangerine and montelimat, a ginger sling with a pineapple heart, a coffee dessert yes you know it's good news

But you'll have to have them all pull out after the Savoy Truffle

Yes, you'll have to have them all pull out after the Savoy Truffle

Cry Baby Cry

This song by Lennon was inspired by fairytales in this youth, and in part was based on one titled, "Sing A Song Of Sixpence." The images of the King of Marigold and the Duchess of Kircaldy were made up by Lennon. He used Kircaldy, as it is in Fife, Scotland, where the Beatles once played at the Carlton Theatre on October 5, 1963.

Cry baby cry, make your mother sigh, she's old enough to know better

The King of Marigold was in the kitchen cooking breakfast for the queen

The queen was in the parlor playing piano for the children of the king

Cry baby cry, make your mother sigh, she's old enough to know better, so cry baby cry

The King was in the garden picking flowers for a friend who came to play

The queen was in the playroom painting pictures for the children's holiday

Cry baby cry, make your mother sigh, she's old enough to know better, so cry baby cry

The Duchess of Kircaldy always smiling and arriving late for tea

The duke was having problems with a message at the local bird and bee

Cry baby cry, make your mother sigh, she's old enough to know better, so cry baby cry

At twelve o'clock a meeting 'round the table for a séance in the dark

With voices out of nowhere put on specially by the children for a lark

Cry baby cry, make your mother sigh, she's old enough to know better

So cry baby cry, cry, cry, cry baby, make your mother sigh

She's old enough to know better, cry baby cry, cry, cry, cry, make your mother sigh

She's old enough to know better, so cry baby cry

Revolution 9

Although credited to Lennon and McCartney, Revolution 9 was not written by either. Rather it is a collection of taped sounds that John and Yoko mixed together. The song begins with a small fraction of unreleased material from "I Will," followed by an EMI Studio test tape repeating the words, "Number nine," over and over again. Following this, the best way to describe the song is total pandemonium, that includes a procession of tape loops, feedback, screams, vocal overdubs, sound effects and noise. McCartney hated it, and did not want it on the album, but finally agreed with profound apprehensions, and George Martin hated it more.

Number nine, number nine, number nine, number nine...

Good Night

This is a song written by John to sound as though Paul wrote it. Lennon wrote it as a bedtime lullaby for his son, Julian. But, Julian didn't learn of it until twelve years later, as John and Cynthia separated a few weeks after Lennon wrote it. The only Beatle to appear on this track was Ringo, who sang it to an orchestral accompaniment.

Now it's time to say good night, good night sleep tight, now the sun turns out his light, good night sleep tight

Dream sweet dreams for me, dream sweet dreams for you, close your eyes and I'll close mine, good night sleep tight

Now the moon begins to shine, good night sleep tight,

Dream sweet dreams for me, dream sweet dreams for you, mm, mm, mm

Close your eyes and I'll close mine, good night sleep tight, now the sun turns out his light, good night sleep tight

Dream sweet dreams for me, dream sweet dreams for you

(Good night, good night everybody, everybody everywhere, goodnight)

NOTE: All lyrics contained herein are © Copyright 1968 Northern Songs. All Rights Reserved. International Copyright Secured. The lyrics contained herein are for the sole use of educational reference for the readers of this article. All other uses are in violation of international copyright laws. This use for educational reference, falls under the "fair use" sections of U.S. copyright law. Copyright © 1993-2022 by John T. Marck. All Rights Reserved. This article and their accompanying pictures, photographs, and line art, may not be resold, reprinted, or redistributed for compensation of any kind without prior written permission from the author, or the registered copyright holders. Except as otherwise stated above, all information contained in this article, EXCEPT song titles, lyrics, and photographs, © John T. Marck.

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