But instead of putting any backing on it, we put a blackbird. So there's a blackbird singing at the very end. And somebody said it was a thrush, but I think it's a blackbird!" john 1980: "I gave him (Paul) a line on that one." paul circa-1994: "The original inspiration was from a well-known piece by bach, which I never know the title of, which george. Part of its structure is a particular harmonic thing between the melody and the bass line which intrigued. I developed the melody based on the bach piece and took it somewhere else, took it to another level, then I just fitted words. I had in my mind a black woman, rather than a bird. Those were the days of the civil-rights movement, which all of us cared passionately about.
SongWriting, fever - official Site
The story is that. One of my favorite tracks. I just like the sound of it, and I sing it well." paul circa-1994: "It has that very special line, 'and curse sir Walter Raleigh/ he was such a stupid git.' That's a classic line and it's so john that there's no doubt who wrote. I think it's 100 percent John." blackbird(Lennon/McCartney) paul 1968: "It's simple essay in concept because you couldn't think of anything else to put. Maybe on 'pepper' we would have sort of worked on it until we could find some way to put violins or trumpets in there. But I don't think it needs it, this one. You know, it's just. There's nothing to the song. It is just one of those 'pick it and sing it' and that's. The only point where we were thinking of putting anything on it is where it comes back in the end. Sort of stops and comes back.
Mainly i'm just doing a thesis tune and then some words come into my head, you know. And these happened to be 'martha my dear, though I spend my days in conversation.' so you can read anything you like into it, but really it's just a song. It's me singing to my dog." (laughs). Paul circa-1994: "When I taught myself piano i liked to see how far I could go, and this (song) started off as a piece you'd learn as a piano lesson. It's quite hard for me to play, it's a two-handed thing, like a little set piece. Then when I was blocking out words- you just mouth out sounds and some things come- i found the words 'martha my dear.' so i made up another fantasy song. I mean, i'm not really speaking to martha, it's a communication of some sort or affection, but in a slightly abstract way- 'you silly girl, look what you've done.' Whereas it would appear to anybody else to be a song to a girl called Martha. I'm so tired(Lennon/McCartney) john 1980: i'm so tired' was me, in India again. I couldn't sleep, i'm meditating all day and couldn't sleep at night.
And he finishes off, 'happiness Is a warm Gun, yes.' It's just good poetry.". John 1972: "They all said it was lined about drugs, but it was more about rock 'n roll than drugs. It's sort of a history of rock 'n roll. I don't know why people said it was about the needle in heroin. I've only seen somebody do something with a needle once, and I don't like to see it at all.". John 1980: "A gun magazine was sitting around and the cover was the picture of a smoking gun. The title of the article, which I never read, was 'happiness Is a warm Gun.' i took it right from there. I took it as the idea of happiness after having shot somebody. Martha my dear(Lennon/McCartney paul 1968: "you see, i just start singing some words with a tune, you know what I mean.
So eric played that, and I thought it was really good. Then we listened to it back, and he said, 'ah, there's a problem though; it's not beatley enough.' so we put it through the adt (automatic double-track) to wobble it up a bit.". Happiness iarm gun(Lennon/McCartney paul 1968: "The idea of 'happiness Is a warm Gun' is from an advert in an American paper. It said, happiness is a warm gun, and it was 'get ready for the long hot summer with a rifle you know, 'come and buy them now!' It was an advert in a gun magazine. And it was so sick, you know, the idea of 'come and buy your killing weapons and 'come and get.' but it's just such a great line, 'happiness Is a warm Gun' that John sort of took that and used that as a chorus. And the rest of the words. I think they're great words, you know.
International, songwriting, competition The 1 Song Contest
The idea was in my head when i visited my parents' home in the north of England. I decided to write a song based on the first thing I saw upon opening any book- as it would be relative to that moment, at that time. I picked up a book at random, opened it- saw 'gently weeps' -than laid the book down again and started the song. Some of the words to the song were changed before i finally recorded.". George 1987: "I worked on that song with John, paul, and Ringo one day, and they were not interested in it at all. And i knew inside of me that it was a nice song.
The next day i was with Eric Clapton, and I was going into the session, and I said, 'we're going to do this song. Come and play.' he said, 'oh. I can't do that. Nobody ever plays on the beatles records.' i said, 'look, it's my song, and I want you to play.' so eric came in, and the other guys were as good wallpaper as gold- because he was there. Also, it left me free to just play the rhythm and do the vocal.
I just made up this short piece and I multitracked the harmony to that, and a harmony to that, and a harmony to that, and built it up sculpturally with alot of vibrato on the (guitar) strings, really pulling the strings madly- hence 'wild Honey. The continuing story of bungalow bill(Lennon/McCartney). John 1980: "Oh, that was written about a guy in Maharishi's meditation camp who took a short break to go shoot a few poor tigers, and then come back to commune with God. There used to be a character called Jungle jim, and I combined him with Buffalo bill. It's a sort of teenage social comment song, and a bit of a joke.
Yoko's on that one, i believe.". Paul circa-1994: "I remember John singing 'bungalow Bill' in Rishikesh. This is another of his great songs and it's one of my favorites to this day because it stands for alot of what I stand for now. 'did you really have to shoot that tiger' is its message. 'Aren't you a big guy? Aren't you a brave man?' i think john put it very well.". While my guitar gently weeps(Harrison george 1980: "I had a copy of the i ching- the book of Changes, which seemed to me to be based on the eastern concept that everything is relative to everything else, as opposed to the western view that things.
Songwriting recording Database: The White Album
It's a perverse way of saying to paul, you know, 'here, have this crumb, this illusion, this stroke, because i'm leaving.". Ob-la-di ob-la-da(Lennon/McCartney john 1980: "I might've given him a couple of lyrics, but it's his song, his lyric.". Paul 1984: "A fella who used to hang around the clubs used to say, (Jamaican accent) 'Ob-la-di, ob-la-da, life goes on and he got annoyed when I did a song of it, 'cuz he wanted a cut. I said, 'come on, jimmy, it's just an expression. If you'd written the song, you could have had a cut.' he also used to say, 'nothin's too much, just outta sight.' he was just one of those guys who had great expressions, you know.". Wild honey pie(Lennon/McCartney paul circa-1994: "We were in revelation an experimental mode, and so i said, 'can I just make something up?' i started off with the guitar and did a multitracking experiment in the control room. It was very home-made- it wasn't a big production at all.
That was the competition in Maharishi's camp- who was going to get cosmic first. What I didn't know was I was 'already' cosmic." (laughs). Paul circa-1994: "He (John) wrote 'dear Prudence, won't you come out and play.' and went in and sang it to her, and I think that actually did help.". Glass onion(Lennon/McCartney john 1980: "That's me, just doing a throwaway song, a la 'walrus' a la everything i've ever written. I threw in the line 'the walrus was paul' just to confuse everybody a bit more. It interior could've been the fox terrier is paul, you know. I mean, it's just a bit of poetry. It was just thrown in like that. The line was put in because i was feeling guilty because i was with yoko and I was leaving paul.
If you go down and do it, just bluff right through it, you think, 'what the hell, at least I'm helping.' Then the paranoia comes in- 'but I'm going to show him up!' i was very sensitive to that.". Dear prudence(Lennon/McCartney john 1980: dear Prudence'. A song about mia farrow's sister, who seemed to go slightly balmy, meditating too long, and couldn't come out of the little hut we were livin'. They selected me and george to try and bring her out because she would trust. If she'd been in the west, they would have put her away. We got her out of the house. She'd been locked in for three weeks and was trying to reach God quicker than anybody else.
And 'come here honey but with Russian women. It concerns the attributes of Russian women.". John 1980: "Paul completely. I play the six-string bass on that.". Paul 1984: "I wrote that as a kind of beach boys parody. And 'back in the usa' was a chuck berry song, so roles it kinda took off from there. I just liked the idea of georgia girls and talking about places like the ukraine as if they were california, you know? It was also hands across the water, which I'm still conscious. 'cuz they like us out there, even though the bosses in the Kremlin may not.
Federal Employee services benefits
Originally released in the uk, november 22, 1968 *Plus single: hey jude/revolution (UK release: 8/30/68 back in the ussr(Lennon/McCartney paul 1968: "Chuck berry once did a song called 'back In The usa which is very American, very Chuck berry. Very sort of, uhh. You know, you're serving in the army, and when I get back home i'm gonna kiss the ground. And you know- can't wait to get back to the States. And it's a very American lined sort of thing, i've always thought. So this one is like about. In my mind it's just about a spy who's been in America a long long time, you know, and he's picked. And he's very American. But he gets back to the ussr, you know, and he's sort of saying, 'leave it till tomorrow, honey, to disconnect the phone and all that.