Beatles Song Lyrics Quotes

We all shine on...like the moon and the stars and the sun...we all shine on...come on and on and on...

Close your eyes and I'll kiss you, Tomorrow I'll miss you.

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, ..... And when the night is cloudy, there is still a light, that shines on me, shine 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. Let it be, let it be, .....

All you need is love...love is all you need.

Then, lifting me up, his head fell back and he opened his mouth wide. “Once I let Lucy Larson into my heart! I was able to take my sad, shitty song and make it better!” he sung, off key and at full volume. Some of the students around us tipped their beers at him, some broke in during the “Nah, nah, nah,” chorus, and a few looked at him like he was a crazy man. But I just laughed—I already knew he was crazy. And I loved him for it. “I think that’s called taking creative liberties with the lyrics.

The "four angels" were the Beatles, whom Manson considered ""leaders, spokesmen, prophets," according to Gregg. The line "And he opened the bottomless pit...And there came out of the smoke locusts upon the earth; and unto them was given power..." was still another reference to the English group, Gregg said. Locusts - Beatles - one and the same. "Their faces were as the faces of men," yet "they had hair as the hair of women." An obvious reference to the long-haired musicians. Out of the mouths of the four angles "issued fire and brimstone." Gregg: "This referred to the spoken words, the lyrics of the Beatles' songs, the power that came out of their mouths.

...(in the past I would listen to a record three, five, ten times running, waiting for something that never happened). A book offers more deliverance, more escape, more fulfilment of desire. In songs one remains locked in desire. (The lyrics are not that important, only the melody matters; so I understood nothing of what the Platters or the Beatles were saying.) There are no places, no scenes, no characters, only oneself and one’s longing. Yet the very starkness and paucity of music allow me to recall a whole episode of my life and the girl I used to be when I listen to I’m Just a Dancing Partner thirty years later. Whereas the beauty and fullness of The Beautiful Summer and In Search of Lost Time, which I have reread two or three times, can never give me back my life.

His most influential song, “Matchbox Blues,” popularized an image that had first appeared in one of Rainey’s lyrics and would be recycled by everyone from Billie Holiday to Sam Cooke, Carl Perkins, and the Beatles: “I’m sitting here wondering, will a matchbox hold my clothes / I ain’t got so many matches, but I’ve got so far to go.

In late 1968, Manson seized upon a new text for his prophecies: a musical training manual designed to help him create an army out of his cult—the Beatles’ 1968 album known as “the White Album.” Manson said that the Beatles had channeled his own teachings and used them to create the White Album, which he saw as a vehicle for sharing those teachings with the world. Whether Manson truly believed this fanciful idea is difficult to discern, but his starving, acid-frazzled followers believed it wholeheartedly. According to Manson, the White Album expressed the Beatles’ need for a spiritual savior and contained coded messages explicitly directed at him. Manson was, he believed, the savior the Beatles were looking for. Manson also used the coincidence of the Beatle’s song “Sexy Sadie,” his nickname for follower Susan Atkins, to prove his point and focused on the lyrics of “Piggies,” a song about class struggle, assuring his followers that they were the piggies the Beatles were writing about.

I knew whatever they sang, it would sound like a translation because of their accents, so I wanted to keep it a bit formal. After several goes, I eventually came up with the lines, ‘I’m in serious shit, I feel totally lost / If I’m asking for help, it’s only because / Being with you has opened my eyes, could I ever believe such a perfect surprise? / I keep asking myself wondering how / I keep closing my eyes but I can’t block you out / Want to find a place where it’s just you and me / Nobody else so we can be free’. And that was it. I had the beginnings of the lyric, after which, and much to my relief, the rest of the song came. For some reason the Beatles’ song ‘Things We Said Today’ popped into my head. I changed it to ‘All the Things She Said’ and I had the chorus.

Thanks so much, George Harrison, for the lyrics penned smoothly and interpreted by the help of music dragomen; for songs sung with the primal inhalation of rhapsody; for the oomph of demonstrable talents; for the mild, wind-tossed guitar riffs; and for The Beatles, whose melodies and Rock ‘n’ Roll verge on the brims of sustainable solace.

Those raised on more traditional standards will listen to late-period Beatle songs and quite legitimately ask ‘but what do they mean?’ To reply that they mean something more general than traditional lyrics, that they were conceived as records not songs, may or may not explain much.

I've only ever been loved like a Top 40 song- the latest hit, the hot new thing. Something fleeting, bubbly and fun; nothing serious. But just once, I'd like to be loved like a poignant, timeless ballad. With a melody that moves you and lyrics that burrow deep in your heart. Like Leonard Cohen's "Suzanne" or "Something" by the Beatles or "Speak Now" by Taylor Swift. But that never seems to happen.

I think it’s easier for me to do melodies and ballads,” Paul later reflected. “I think they come easier to me. I think they’re actually easier songs to write than rockers. . . . Rock ’n’ roll is deceptively hard to write. A lot of people will just think, ‘Oh, it’s three chords and all you’ve gotta have is a lot of soft lyrics and you’ve got a rock song.’ And sometimes that does work.28 Every time I attempt a heavy rock thing, I know it must be perfect. Otherwise I have people saying, ‘That’s a nice soft rock thing you’ve just done, Paul.’ That’s no compliment, believe me.

Lyrically, the directness and poetic imagery in ‘Warm and Beautiful’ make it a close second to ‘Maybe I’m Amazed’ among Paul’s songs inspired by Linda. And it was almost enough to make him reconsider his insecurity about writing lyrics. “I’ve never thought I had a relationship with words that’s very strong. I feel as though it’s more music. But that’s my particular hang up. I think what I’m saying is, there are some people who string words together that I admire to the degree that I don’t think I’m that good. I mean, that’s my natural response—‘No, I’m not very good with words.’ But when I think about it I know I have some moments when suddenly a little flash has come to me and I’ve thought, ‘Okay, that’s good, those are good words.’”48 In Paul’s own estimation, ‘Warm and Beautiful’ was one of those sudden flashes. “That one really does get to me,” he later admitted. “It captures some of my innermost feelings for her.

In America, ‘Getting Closer’ did slightly better. The anonymous reviewer for Billboard found the song to be “an uplifting rocker” and praised McCartney’s vocals, as well as lyrics and instrumental hooks that were “subtle but effective.”44 The single entered the Billboard Hot 100 at No. 64 on June 16 and remained ten weeks. It took until July 28 to hit its peak, No. 20, a spot it held for a fortnight. At Lympne Castle, meanwhile, Wings were filling reels of tape with jamming, and Paul was bringing in new material. One of his new tunes was ‘Ebony and Ivory,’ a song he had started after a row with Linda at High Park in the summer of 1978, but that looked at relationships more globally, using the keyboard as a metaphor for racial harmony: “Ebony and ivory live together in perfect harmony, side by side on my piano, keyboard, oh Lord, why don’t we?