Written by John, this song became known as an overt sexual invitation from Lennon. He fashioned it after Roy Orbison, but the name came from an altogether different source. In 1932, Bing Crosby had a hit with a song titled "Please," written by Leo Robin and Ralph Rainger. In the beginning lyrics, the words "please" and "pleas," were used, as "Oh please, lend your little ear to my pleas..." Lennon recalled this song from his mother having sung it to him when he was a child. He always liked the "please -pleas" sound, and developed this song around the same theme.

From Me To You

(Past Masters 1)

This was the third single released by The Beatles, written by John and Paul on February 28, 1963. They wrote this song while on a bus with the Helen Shapiro tour, in Southport, Lancashire. Another of their early love -relationship songs, they got the title idea from a newspaper, the New Musical Express. In this paper, there was an article titled "From You To Us," dated February 22, 1963. The harmonica in the opening of the song was the idea of George Martin. The Beatles recorded this song on March 5, 1963.

Da da da da da da da da, da da da da da da da da

If there's anything that you want, if there's anything I can do

Just call on me and I'll send it along, with love, from me to you

I've got everything that you want, like a heart that's oh so true

Just call on me and I'll send it along, with love, from me to you

I got arms that long to hold you, and keep you by my side

I got lips that long to kiss you, and keep you satisfied

Ooo, if there's anything that you want, if there's anything I can do

Just call on me and I'll send it along, with love, from me to you

To you, just call on me and I'll send it along, with love, from me to you

I got arms that long to hold you, and keep you by my side

I got lips that long to kiss you, and keep you satisfied

Ooo, if there's anything that you want, if there's anything I can do

Just call on me and I'll send it along, with love, from me to you

To you, to you, to you

She Loves You

(Past Masters 1)

Another of The Beatles single releases, this was recorded on July 1, 1963. Their fourth single, it was released in the United Kingdom on August 23, 1963, and in the United States on Swan Records on September 16, 1963. This was the song that launched The Beatles to the top spots on the charts in Britain, where this song stayed in the top 20 from August 1963 until February 1964, and was Britain's best-selling single of the decade. Written by John and Paul on June 28, 1963, they decided to try the words "she" and "you" because their former releases all had the word "me" in the title, that is "Love ME Do, Please Please ME, and From ME to you."There are two interpretations. One is that it is a song about relationship reconciliations, whereby the writer is offering to patch up the relationship through messages. The second is that it be perceived as a warning, in that if one doesn't appreciate the relationship, then another will.

"She Loves You," contains what became The Beatles catch-phrase, that of the "Yeah, Yeah, Yeah." Whenever you hear these three words, one automatically thinks of The Beatles and this song. The ending of the song is unusual for pop music in that The Beatles used the sixth chord. This was very uncommon in popular music, and was first used by Glenn Miller and his orchestra in the 1940s. John and Paul put it in the ending, but George Martin originally didn't like it. However, its use fit so perfectly, that soon Martin agreed to keep it in. When you listen to the song today, you can't imagine it without it. "She Loves You," is truly an anthem of The Beatles, as is "I Want To Hold Your Hand." This sing was not released on a CD until this collection herein and the Past Masters series.

She loves you, yeah, yeah, yeah, she loves you, yeah, yeah, yeah

She loves you, yeah, yeah, yeah

You think you've lost your love, well, I saw her yesterday-yi-yay

It's you she's thinking of, and she told me what to say-yi-yay

She says she loves you, and you know that can't be bad

Yes, she loves you, and you know you should be glad

She said you hurt her so, she almost lost her mind

And now she says she knows, you're not the hurting kind

She says she loves you, and you know that can't be bad

Yes, she loves you, and you know you should be glad

Oo, she loves you, yeah, yeah, yeah, she loves you, yeah, yeah, yeah

And with a love like that, you know you should be glad

You know it's up to you, I think it's only fair

Pride can hurt you too, apologize to her

Because she loves you, and you know that can't be bad

Yes, she loves you, and you know you should be glad

Oo, she loves you, yeah, yeah, yeah, she loves you, yeah, yeah, yeah

And with a love like that, you know you should be glad

And with a love like that, you know you should be glad

I Want To Hold Your Hand

(Past Masters 1)

Written by John and Paul together at the piano in the basement of the Asher's home (Jane and Peter), this was another aimed at teenage girls, back in the days when holding hands and kissing were the utmost in physical expression. It was a milestone for The Beatles, as this was the first time a British pop group had a song reach number one in the United States. Prior to this, the only British artists to have number one records in America, but not pop music, were Vera Lynn in 1952 with "Auf Wiedersehen;" Acker Bilk in 1961 with "Stranger On The Shore;" and in 1962 with the Tornadoes "Telstar." It was recorded on October 17, 1963.

Oh yeah I'll tell you something, I think you'll understand

When I say that something, 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, no, let me hold your hand, I want to hold your hand

And when I touch you I feel happy inside, it's such a feeling that my love

I can't hide, I can't hide, I can't hide

Yeah, you got that something, I think you'll understand

When I say that something, 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 feeling that my love, I can't hide, I can't hide, I can't hide

Yeah, you got that something I think you'll understand

When I say that something, I want to hold your hand

I want to hold your hand, I want to hold your hand, I want to hold your hand

Indeed the most commercially successful song recorded in 1963 that was never issued as a single. This was written by Paul as a direct result of and to his love interest at the time, Jane Asher. On April 18, 1963, The Beatles gave a concert at the Royal Albert Hall in London, and Jane was in the audience. It would be the first time she had seen The Beatles. At this time, she was only 17, but was an accomplished actress. She had been sent to the concert as "Britain's best-known teenage girl," by the BBC magazine Radio Times, as she had been a regular with the BBC as a guest on a show titled "Juke Box Jury." It would be her job to review the concert, and later said, "Now these I can scream for." After the concert she was invited back to the Royal Court Hotel in Chelsea where The Beatles were staying. Here she meet The Beatles, and especially Paul, with whom she spent many hours in conversation. A short time later they began dating, and by year's end, 1963, Paul had moved into a room at the Asher's house on Wimpole Street. It would be through this relationship with Jane that her brother Peter also met Paul. Peter was that of Peter and Gordon fame, and recorded several songs written for him by Paul. This version was recorded on July 30, 1963.

Can't Buy Me Love

While The Beatles were in Paris in January 1964 during their 18-day concert tour at the Olympia Theatre, Paul wrote this song. Lennon and McCartney had just finished writing a song titled "One And One Is Two," for Billy J. Kramer and the Dakotas, and The Beatles needed a song quickly to follow the success of "I Want To Hold Your Hand, " in America. George Martin said that it should be upbeat and suggested it start with a chorus, and the song was born. This song was the only previously released song to appear in "A Hard Day's Night." The song was fashioned after the rock n' roll of the fifties, and showcased Harrison's excellent guitar skills.It was recorded on January 29, 1964.

A Hard Day's Night

Written by McCartney, it is simply a love song to his then girlfriend, Jane Asher. A favorite of Lennon, he later described it as Paul's first "Yesterday."

Eight Days A Week

Although considered another true Lennon-McCartney collaboration, John said that it was written by Paul, and Paul says he wrote with John's influence. In any event, it was written as a potential title track for their next movie, which turned out to be Help! But, the title of Help! actually never changed and was always Help. This was written as a sort of just in case title song. What happened was that The Beatles chose the name of "Help" for their second movie, but were told there were copyright problems in that another had registered this name. Because of this, The Beatles first though that they could call their next movie "Beatles II," then decided on "Eight Arms To Hold You." Then, they decided that "Eight Arms To Hold You," made no sense as this was impossible, they then came up with the idea of an explanation mark at the end of "Help" making it now "Help!" therefore removing any copyright problems. McCartney got the idea for this song from the phrase "eight day's a week," from Ringo, who said it describing their terrible work schedule. It is unique in that it was the first Beatles' song to contain a faded intro, and was recorded on October 6 and 18, 1964.

I Feel Fine

(Past Masters 1)

Recognized immediately by this songs opening guitar feedback, it was written by Lennon on October 6, 1964, and recorded by The Beatles on October 18. Self explanatory as to theme, this was John Lennon's most optimistic song to date. The guitar feedback was intentionally done by Lennon, and was the basis for the song, having written it around that sound.

Baby's good to me you know, she's happy as can be, you know she said so

I'm in love with her and I feel fine

Baby says she's mine, you know she tells me all the time, you know she said so

I'm in love with her and I feel fine

I'm so glad that she's my little girl, she's so glad she's telling all the world

That her baby buys her things you know, he buys her diamond rings, you know

She said so, she's in love with me and I feel fine, mm

Baby says she's mine, you know, she tells me all the time, you now she said so

I'm in love with her and I feel fine

I'm so glad that she's my little girl, she's so glad she's telling all the world

That her baby buys her things you know, he buys her diamond rings, you know

She said so, she's in love with me and I feel fine, she's in love with me and I feel fine, mm

Ticket To Ride

McCartney's masterpiece, that he recorded on June 14, 1965. This is probably Paul's most successful song, as Yesterday has been recorded more than 2500 times by other artists over the years, being the most recorded song in music history. The tune for Yesterday came to him during the night. As he awoke, he went straight to the piano and played the complete tune. So easy this was, Paul feared that the tune must be from another song or belonged to another. To get a feel for the lyrics, Paul first titled it "Scrambled Eggs," followed by the lyrics, "Oh you've got such lovely legs." For the next month or so, Paul played the song for many people, asking them if they had ever heard it, still believing the tune came from another. No one had heard it before and consequently, Yesterday was born. When Yesterday was initially released, it received some criticism and controversy from the press, when they learned that it was a purely McCartney recording, without the other three Beatles', yet released under the name of The Beatles. The music for the song was played by Paul on an acoustic guitar, and the instrumentation was provided by George Martin. People feared at the time that this was McCartney's break into a solo career, but this was not true, not at least for another five years. It has been said that during the filming of "Help!" Paul drove the other Beatles' crazy by playing the song over and over again.

Help!

Written by John, with some help from McCartney, Lennon described this song as one of his favorites. At this time, Lennon was eating and drinking too much, was overweight, and felt somewhat overwhelmed by their celebrity. In "Help!" he is crying for help. Although a great title track for the film as it turned out, it really is a song about Lennon. It was recorded April 13, 1965.

You've Got To Hide Your Love Away

Another of Lennon's that we wrote through the influence of Bob Dylan, and similar to John's "I'm A Loser." In his first line, he says, with his head in his hand, and his face turned toward the wall, is a perfect description of how Lennon was feeling when he wrote this song. The song itself deals with a relationship that has gone wrong, and John's feelings for a girl he lost. This song is also interesting for two reasons: First, it features only acoustic guitars, and second, it featured another musician on the flute solo. This musician's name is John Scott, an arranger as well, who was never mentioned in the credits on the album sleeve. Lennon wrote this song at his Kenwood home, and it was used in the film sequence when actress Eleanor Bron went to the house where The Beatles were staying to try to retrieve the ring. Also, this actress is the one whom it was thought Paul may have been referring to in his song, "Eleanor Rigby," yet I believe it was from the gravestone reference. (See Revolver). It was recorded on February 18, 1965.

We Can Work It Out

(Past Masters 2)

Paul wrote this song in early October 1965, when his then girlfriend, Jane Asher, left London to go on tour with the Bristol Old Vic Company. McCartney, throughout their relationship wanted Jane at his beck and call, and by her leaving to join this acting company, she would not be available for him. In the song, he is asking Jane to try to see things his way, or if not, their relationship may be over. The Beatles recorded this on October 20, and 29, 1965.

Try to see it my way, do I have to keep on talking till I can't go on While you see it your way, run the risk of knowing that or love may soon be gone

We can work it out, we can work it out

Think of what you're saying, you can get it wrong and still you think that it's all right

Think of what I'm saying, we can work it out and get it straight or say good night

We can work it out, we can work it out

Life is very short and there's no time for fussing and fighting, my friend

I have always thought that it's a crime, so I will ask you once again

Try to see it my way, only time will tell of I am right or I am wrong

While you see it your, there's a chance we might fall apart before too long

We can work it out, we can work it out

Life is very short and there's no time for fussing and fighting, my friend

I have always thought that it's a crime, so I will ask you once again

Think of what you're saying, you can get it wrong and still you think that it's all right

Think of what I'm saying, we can work it out and get it straight or say good night

We can work it out, we can work it out

Day Tripper

(Past Masters 2)

Written by John in October 1965, it was basically written when The Beatles were under pressure from the record company to come up with a new single for the upcoming Christmas season. It is a basic song about a girl who is a tease, who leads men on and encourages sexual arousal, but having no intention of having sex. It was released as a double A-side single, with "We Can Work It Out." This song reached number one in England, but only fifth in America.

Got a good reason, for taking the easy way out, got a good reason, for taking the easy way out now

She was a day tripper, one way ticket, yeah, it took me so long to find out, and I found out

She's a big teaser, she took me half the way there, she's a big teaser, she took me half the way there, now

She was a day tripper, one way ticket, yeah, it took me so long to find out, and I found out, ah, ah, ah, ah, ah, ah

Tried to please her, she only played one night stand, tried to please her, she only played one night stand, now

She was a day tripper, one way ticket, yeah, it took me so long to find out, and I found out

Day tripper, day tripper, yeah

Drive My Car

Drive My Car, written by Paul, has sly mentions of sexual innuendo. It is a role reversal song, whereas the car is owned by the woman, and the baby talked about is the man. It is a suggestion of sexual favors in return for help with her career. It has some good twists and turns! It was recorded on October 13, 1965.

Norwegian Wood (This Bird Has Flown)

Norwegian Wood (This Bird Has Flown) by John, tells of an affair that he had. Lennon said in 1970 that he was trying to write about an affair without letting his wife (then Cynthia) know that he was writing about an affair. Although the theme is obvious, I guess at the time, Cynthia did not realize he was conveying an actual event. With Norwegian Wood, it was the first time that George Harrison played his sitar on a Beatles recording. It was recorded on October 21, 1965.

Nowhere Man

Recorded on October 21 and 22, 1965, this song by Lennon is distinctive because it was the first Beatles' song not to be about love. It was written as John's desperation of feeling like the "Nowhere Man." One day after writing songs for five solid hours, he feared he could not complete another song for this album. It describes John's deficiency in his belief in himself to finish songs.

Michelle

(Rubber Soul)

Lyrics in Part 6, Rubber Soul

It is said that songs become standards when they sound as if they have been around forever the first time you hear them. This song by McCartney, like his ballad "Yesterday," is one of those songs. Paul got the inspiration for this song from seeing French art students at a party, dressed in their berets and sporting beards. Paul wrote the song at first while sitting with Jane Asher on her sofa. Originally, he had not come up with the girl's name, using lines like "goodnight sweetheart," and "hello my dear," which later became "Michelle ma belle." As Paul could not speak French properly, he asked Jan Vaughan, the wife of an old friend to help him out. It was she that came up with the name of Michelle, and John Lennon thought of placing the words, "I Love You," in the song. It was recorded on November 3, 1965.

In My Life

(Rubber Soul)

Lyrics in Part 6, Rubber Soul

What I believe to be one of Lennon's greatest songs is "In My Life." In this he is reflecting on his boyhood days, where he is imagining a bus ride through the streets of Liverpool from his house on Menlove Avenue to the docks, whereby he used all the places that held a special significance to him as a young boy. It was Lennon's nostalgic way of mentioning the friends and lovers and the world he left behind. Upon his tragic death in 1980, this song took on the role as his personal epitaph, something that I believe Lennon would have wanted. This song and "Imagine," are those by Lennon that hold the most meaning for me. This was recorded on October 18 and 22, 1965.

Girl

 (Rubber Soul)

Lyrics in Part 6, Rubber Soul

With John's song "Girl," it is typical Lennon. In it he is talking about that special girl, the one we all are looking for. At the time he wrote this, he was opposed to Christianity, and according to Lennon, he is attacking catholic values, using thinly disguised mixtures of lust and disgust. Also, if you listen to the background words, you'll hear the word, "tit," many times over. Lennon said that he needed a filler word, and this was a good as any other. It was recorded on November 11, 1965.

Paperback Writer

(Past Masters 2)

Paul wrote Paperback Writer as another of his "letter songs." It is about a novelist who is begging a publisher to publish his thousand page book. In its literal sense, it's about a paperback writer who has written a novel based on another novel, about a paperback writer. Lennon's contribution to this song was the phrase "a man named Lear," and the reference to "The Daily Mail." The name Lear came from the Victorian painter Edward Lear, who wrote nonsense poems that Lennon loved, and the Daily Mail was the regular newspaper Lennon received. It was recorded on April 13 and 14, 1966. Paperback writer, Dear Sir or Madam will you read my book

It took me years to write, will you take a look, based on a novel by a man named Lear

And I need a job, so I want to be a paperback writer, paperback writer

It's the dirty story of a dirty man, and his clinging wife doesn't understand

His son is working for the Daily Mail, it's a steady job

But he want to be a paperback writer, paperback writer, paperback writer

It's a thousand pages, give or take a few, I'll be writing more in a week or two

I can make it longer if you like the style, I can change it 'round

And I want to be a paperback writer, paperback writer

If you really like it you can have the rights, it could make a million for you overnight

If you must return if you can send it here, but I need a break

And I want to be a paperback writer, paperback writer

Paperback writer, paperback writer, paperback writer

Eleanor Rigby

(Revolver)

Lyrics in Part 7, Revolver

Next came Eleanor Rigby, and outstanding song by Paul. There are three stories behind its name. In their youth, Paul and John met at a church function at St. Peter's, Woolton. In the graveyard there is a stone with the name Eleanor Rigby, who died on October 10, 1939. It is believed that maybe Paul recalled this name from his subconscious years later. However, it is said that Paul got the name from two sources. The name of "Rigby," was taken from a shop front in Bristol, and the name "Eleanor," came from his former co-star Eleanor Bron, in the film Help! You be the judge.

Yellow Submarine

(Revolver)

Lyrics in Part 7, Revolver

NOTE: All lyrics contained herein are © Copyright 1962-1966 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. The same such reference applies to images/photos of album covers used herein. 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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