• Published on 1970
• Author: Lennon/McCartney
• Track 2 on “Let It Be“

Lennon’s quotes about “Dig A Pony”

JOHN 1972: “I was just having fun with words. It was literally a nonsense song. You just take words and you stick them together, and you see if they have any meaning. Some of them do and some of them don’t.”

JOHN 1980: “Another piece of garbage.”

About “Dig A Pony”

“Dig A Pony” from The Beatles’ 1970 album Let It Be, was written by John Lennon and credited to Lennon–McCartney. The band recorded the song on 30 January 1969, during their rooftop concert at the Apple Corps building on Savile Row in central London.

It was written for Lennon’s soon-to-be wife Yoko Ono, and features a multitude of strange, seemingly nonsensical phrases strung together in what Lennon referred to as a Bob Dylan style of lyric.

In author Ian MacDonald’s description, the lyrics “celebrate countercultural claims that society’s old values and taboos were dead, that life was a game and art a free-for-all, and (especially) that words meant whatever the hell one wished them to”.

“Dig a Pony” was among the first songs the Beatles worked on during day one of their filmed rehearsals for a planned return to live performance, in January 1969. Lennon introduced it to George Harrison soon after arriving at Twickenham Film Studios on 2 January, as the pair ran through their latest songs.

Meaning of “Dig A Pony”

The lyrics of “Dig a Pony” are known for their cryptic and abstract nature. The song is often interpreted as a collection of surreal and non-sequitur imagery, with no clear narrative or storyline. This abstract quality is characteristic of Lennon’s songwriting style during this period.

Some have suggested that the title and lyrics of “Dig a Pony” may not have a specific, concrete meaning and could be more about the sound and feel of the words and phrases.

It’s important to note that John Lennon himself has stated that the song was written during a time when he was exploring wordplay and not necessarily trying to convey a specific message.

Ultimately, the meaning of “Dig a Pony” remains open to interpretation, and listeners may find their own personal meaning or connection to the song based on their own experiences and perspectives.

Personnel

The Beatles

• John Lennon – lead vocal, rhythm guitar
• Paul McCartney – harmony vocal, bass guitar
• George Harrison – lead guitar
• Ringo Starr – drums

Additional musician

• Billy Preston – electric piano

How to play “Dig A Pony” on guitar

The guitar work in “Dig a Pony,” is quite distinctive and characteristic of the band’s style during their later years. The track features both John Lennon and George Harrison on guitars. The guitar parts in the song consist of rhythmic strumming patterns that provide a driving force to the song, a steady groove throughout the track, complementing the song’s relaxed yet energetic vibe. The combination of Lennon and Harrison’s guitar work creates a solid foundation for the song, allowing the vocals and other instruments to weave in and out seamlessly.

The following videos show how to play Lennon’s and Harrison’s guitar parts of “Dig A Pony”:

How to play “Dig A Pony” on bass

The bass on “Dig A Pony” is distinct and adds a solid foundation to the song.
Paul McCartney’s bass line on this track is distinctive as at some important moments in the song it plays in unison with Lennon and Harrison’s guitar parts, contributing to the overall groove of “Dig A Pony”. It is a prominent element that complements the guitar and drums, creating a rich sonic texture. McCartney was known for his innovative bass playing and on “Dig A Pony” his bass line helps carry the song forward while providing a melodic hook.

The following video features bassline with tab of “Dig A Pony”:

“Dig A Pony” karaoke

For those who want to try singing “Dig A Pony”, the next video features the karaoke version of the song:

• “Dig A Pony” lyrics

• Published in 1969
• Author: Lennon/McCartney
• Track 19 on “The Beatles 1967-1970” (Blue Album)
• Track 10 on “Past Masters Volume 2“
• Track 8 on “Let It Be… Naked“

JOHN 1969: (to Ringo, regarding the cymbal smash in the intro) “Give me a big ‘kzzzsshhhh!’ Give me the courage to come screaming in.”

JOHN 1980: “That’s me, singing about Yoko.”

PAUL circa-1994: “It was a very tense period. John was with Yoko, and had escalated to heroin and all the accompanying paranoias and he was putting himself out on a limb. I think that, as much as it excited and amused him, at the same time it secretly terrified him. So ‘Don’t Let Me Down’ was a genuine plea, ‘Don’t let me down, please, whatever you do. I’m out on this limb…’ It was saying to Yoko, ‘I’m really stepping out of line on this one. I’m really letting my vulnerability be seen, so you must not let me down.’ I think it was a genuine cry for help. It was a good song. We recorded it in the basement of Apple for ‘Let It Be’ and later did it up on the roof for the film. We went through it quite alot for this one. I sang harmony on it, which makes me wonder if I helped with a couple of the words, but I don’t think so. It was John’s song.”

About “Don’t Let Me Down”

Recorded in 1969 during the Let It Be sessions, “Don’t Let Me Down” was written by John Lennon and credited to Lennon–McCartney. The band recorded the song with Billy Preston; the single release with “Get Back” was credited to “the Beatles with Billy Preston”.

The recording of “Don’t Let Me Down” took place during the famous rooftop concert held by The Beatles on January 30, 1969. This impromptu performance was the culmination of the recording sessions for the “Let It Be” album, which was eventually released in 1970.

Originally released as a B-side, producer Phil Spector excluded the song from Let It Be. However, it was eventually included on an alternate mix of the album, Let It Be… Naked.

The song has been praised for its raw emotion and powerful vocals, particularly from John Lennon. It has become one of The Beatles’ well-loved tracks and has been covered by various artists over the years.

Alan W. Pollack states that “the counterpoint melody played in octaves during the Alternate Verse by the bass and lead guitars is one of the more novel, unusual instrumental touches you’ll find anywhere in the Beatles catalogue.”

Meaning of “Don’t Let Me Down”

“Don’t Let Me Down” is a song about vulnerability and a plea for support and reassurance in a romantic relationship. The lyrics express a deep emotional need for the other person not to disappoint or abandon the singer during a challenging or difficult time.

The repeated refrain of “Don’t let me down” emphasizes the importance of trust and reliability in the relationship. The singer is essentially asking their partner to be there for them, to provide emotional support, and to be a source of strength.

The song captures a universal sentiment of relying on someone you care deeply about and trusting them not to hurt or betray you. It conveys a sense of dependency and a desire for a strong, stable foundation in the relationship.

Overall, “Don’t Let Me Down” reflects the vulnerability and longing that can be inherent in romantic connections, highlighting the importance of mutual trust and support.

Personnel

• John Lennon – lead vocal, rhythm guitars
• Paul McCartney – bass guitar, harmony vocal
• George Harrison – lead guitar, backing vocal
• Ringo Starr – drums
• Billy Preston – electric piano

• Published on 1968
• Author: Lennon/McCartney
• Track 21 on “The Beatles – White Album“

JOHN 1980: “That was just a sort of nice line that I made into a song. It was about me and Yoko. Everybody seemed to be paranoid except for us two, who were in the glow of love. Everything is clear and open when you’re in love. Everybody was sort of tense around us– you know, ‘What is SHE doing here at the session? Why is she with him?’ All this sort of madness is going on around us because we just happened to want to be together all the time.”

About “Everybody’s Got Something to Hide Except For Me and My Monkey”

“Everybody’s Got Something to Hide Except Me and My Monkey” is a song featured on 1968 double album, commonly known as the “White Album.” The song was written by John Lennon and credited to the Lennon–McCartney songwriting partnership. The inspiration for the lyrics came from the teachings of Maharishi Mahesh Yogi, whom the Beatles studied Transcendental Meditation under in India in early 1968. Many of the song’s lines are direct quotations from the Maharishi’s expressions related to meditation. George Harrison noted that, besides the reference to a monkey, the rest of the lyrics were drawn directly from the Maharishi’s teachings.

John Lennon later explained that the song dealt with the initial disapproval he faced from his bandmates regarding his relationship with Yoko Ono. Lennon’s recollection was that, during that period, he and Ono were deeply in love and impervious to the concerns and tensions surrounding them. Paul McCartney, however, believed that the song had an alternate meaning, interpreting “monkey” as a reference to heroin, a drug associated with the term. He recalled that Lennon used language related to drug use, which the rest of the band wasn’t as familiar with.

Originally titled “Come on, Come on” by Lennon, an early demo of the song was recorded at George Harrison’s Esher home in May 1968. This version featured acoustic guitars and percussion and had a more relaxed style compared to the final version on the White Album. The Beatles recorded the final version during the sessions for the White Album. Ian MacDonald, a music critic, noted that this recording marked Lennon’s return to a more rock-oriented sound after the band’s psychedelic phase. The basic track was worked on at EMI Studios on June 26, but those takes were ultimately discarded in favor of a new recording the following day. This marked the Beatles’ first full group session in a while, as George Harrison had been in California filming a documentary, and Ringo Starr had accompanied him to escape tensions within the band.

Harrison’s time away had led to his renewed commitment to the guitar, which was evident in his contribution of a dynamic lead guitar part to “Everybody’s Got Something to Hide Except Me and My Monkey.” The final recording also included overdubs like handclaps, background shouting, an additional snare drum, and a second bass part by Paul McCartney. The recording was slightly sped up during production, raising the song’s key from D major to E major. Stereo mixing was completed on October 12.

Overall, “Everybody’s Got Something to Hide Except Me and My Monkey” is a significant track in the Beatles’ catalog, representing a shift in their musical style during 1968, and offering insight into John Lennon’s personal life and relationships during that time.

Meaning of “Everybody’s Got Something to Hide Except Me and My Monkey”

The meaning of “Everybody’s Got Something to Hide Except Me and My Monkey” has been the subject of much speculation and interpretation. John Lennon, who wrote the song, offered some insights into its meaning.

In interviews and statements, Lennon explained that the lyrics reflected the sense of isolation he and Yoko Ono felt at the time. He felt that he and Ono were in a state of blissful love, seemingly immune to the concerns or judgments of others. The “monkey” in the title is often considered to be a metaphor for the private and unique relationship between Lennon and Ono. It represented a kind of sanctuary or refuge from the outside world.

However, there are other interpretations. Paul McCartney, for instance, believed that the term “monkey” could be a reference to heroin, a drug that was unfortunately prevalent in the music scene at the time. In this context, the song might be expressing Lennon’s sense of detachment from or indifference to the struggles and vices of others.

The ambiguity of the lyrics and the various interpretations offered by Lennon, McCartney, and other band members contribute to the enduring fascination and mystery surrounding this song. Ultimately, the true meaning might be open to personal interpretation and may vary depending on the listener’s perspective and experiences.

Personnel

• John Lennon – double tracked lead vocal, rhythm guitar, handclaps
• Paul McCartney – backing vocal, bass, second bass, hand bell, chocalho, handclaps
• George Harrison – backing vocal, lead guitar, handclaps
• Ringo Starr – drums, handclaps

• Published on 1968
• Author: Lennon/McCartney
• Track 17 on “The Beatles – White Album“

JOHN 1972: “Me. Yoko helped me with this one.”

JOHN 1980: “Julia was my mother. But it was sort of a combination of Yoko and my mother blended into one. That was written in India… We wrote tons of songs in India.”

PAUL circa-1994: “The interesting thing for me on ‘Julia’ is the finger-picking (guitar) style. He learned to fingerpick off Donovan or Gypsy Dave… That was John’s song about his mum, folk finger-picking style, and a very good song.”

About “Julia”

“Julia” is a poignant ballad featured on968 double album, “The Beatles” (known as “the White Album“). Notably, this piece is a solo endeavor by John Lennon, and it holds a special place as a tribute to his late mother, Julia Lennon, who passed away at the age of 44 in 1958. Positioned as the closing masterpiece on side two (or disc one on CD) of “The Beatles,” “Julia” also holds the distinction of being the final recording completed for the album. In 1976, it was released as the B-side to the Beatles’ single, “Ob-La-Di, Ob-La-Da.”

Compositionally, “Julia” is written in the key of D major and showcases Lennon’s emotive vocals accompanied by the soothing strums of his acoustic guitar. The genesis of this heartfelt creation took place during the Beatles’ transformative stay in Rishikesh, northern India, where they were under the tutelage of the Maharishi Mahesh Yogi. Here, Lennon learned the intricate finger-picking style known as ‘Travis-picking’ from the skilled Scottish musician, Donovan.

Recalling the origins of “Julia,” Donovan shared that Lennon approached him with a desire to craft a song in homage to his mother. Lennon conveyed his yearning for a song that captured the childhood he never truly experienced with her. Together, they delved into crafting evocative imagery, with John envisioning a serene beach scene where he and his mother strolled hand in hand. Donovan’s contribution included lines like “Seashell eyes / windy smile,” evoking the whimsical ambiance reminiscent of Lewis Carroll’s beloved “Alice in Wonderland,” a world John cherished deeply.

In a unique twist, “Julia” stands as a testament to Lennon’s singular artistry, as no other member of the Beatles contributed vocally or instrumentally to this piece. While Paul McCartney had previously produced “solo” recordings attributed to the group, including his iconic composition “Yesterday,” this song marks the only instance where Lennon delivered both vocals and guitar unaccompanied by fellow Beatles. Remarkably, this tender ballad came to fruition as the final addition to the extensive recording sessions for “The Beatles.”

Meaning of “Julia”

“Julia” serves as a tribute to John’s mother, Julia Lennon, who passed away when he was just 17 years old. The lyrics reflect John’s feelings of loss, longing, and a deep sense of connection to his mother’s memory.

The song’s lyrics convey a mixture of love, pain, and a yearning to be close to his mother once more, even though she has passed away. Throughout the song, John expresses a sense of emotional vulnerability, revealing the profound impact his mother had on his life.

“Julia” is an intimate and personal composition that offers listeners a glimpse into John Lennon’s emotional world, showcasing his ability to turn his personal experiences into heartfelt and relatable music.

Personnel

• John Lennon – double-tracked vocal, double-tracked acoustic guitar

• Published on 1968
• Author: Lennon/McCartney
• Track 29 on “The Beatles – White Album“

GEORGE 1969: “Revolution 9 wasn’t particularly like a Beatles number… it worked quite well in the context of all those different songs. I find it heavy to listen to myself– in fact, I don’t, really.”

JOHN 1971: “I thought I was painting in sound a picture of revolution, but I made a mistake, you know. The mistake was that it was antirevolution.”

JOHN 1980: “The slow version of ‘Revolution’ on the album went on and on and on and I took the fade-out part, which is what they sometimes do with disco records now, and just layered all this stuff over it. It was the basic rhythm of the original ‘Revolution’ going on with some twenty (tape) loops we put on, things from the archives of EMI. We were cutting up classical music and making different-size loops, and then I got and engineer tape on which some test engineer was saying, ‘Number nine.’ All those different bits of sound and noise are all compiled. There were about ten (tape) machines with people holding pencils on the loops– some only inches long and some a yard long. I fed them all in and mixed them live. I did a few mixes until I got one I liked. Yoko was there for the whole thing and she made decisions about which loops to use. It was somewhat under her influence, I suppose. Once I heard her stuff– not just the screeching and the howling but her sort of word pieces and talking and breathing and all this strange stuff, I thought, My God, I got intrigued… so I wanted to do one. I spent more time on ‘Revolution 9’ than I did on half the songs I ever wrote. It was a montage.”

About “Revolution 9”

“Revolution 9” is an avant-garde sound collage featured on the Beatles’ 1968 White Album. The composition, primarily attributed to John Lennon, involved creative input from Yoko Ono and George Harrison. Lennon aimed to create an auditory representation of a revolution, employing a diverse range of unconventional sound elements.

The piece draws inspiration from avant-garde styles, notably Ono’s influence and the experimental works of composers like Edgard Varèse and Karlheinz Stockhausen. This composition emerged from the extended ending of Lennon’s song “Revolution,” wherein Lennon, Harrison, and Ono integrated unused segments with an array of overdubbed vocals, speech, sound effects, and short tape loops. These elements were further manipulated using techniques like echo, distortion, stereo panning, and fading.

“Revolution 9” is notable as the longest officially released Beatles track, clocking in at eight minutes and twenty-two seconds. Its unconventional structure and content set it apart as a groundbreaking piece of experimental, avant-garde, and musique concrète music.

The creation of “Revolution 9” was influenced by various sources, including the Beatles’ earlier forays into experimental recordings like “Tomorrow Never Knows” and an unreleased piece called “Carnival of Light.” Lennon’s association with Yoko Ono also played a significant role, as their collaborative efforts in avant-garde music influenced the track’s development.

The recording process involved intricate manipulation of tape loops, sound effects, and spoken word elements. Lennon, Harrison, and Ono were instrumental in shaping the final composition. It’s noteworthy that McCartney, while absent during the initial assembly of “Revolution 9,” later expressed reservations about its inclusion on the album.

The piece features recurring motifs, including a piano theme in B minor and the repeated phrase “number nine.” Various sound sources, including classical music snippets and unconventional noises, contribute to its complex tapestry of sound.

“Revolution 9” showcases Lennon’s vision of a revolution translated into sound, and it stands as a testament to the Beatles’ willingness to push artistic boundaries. Despite its divisive reception, the track remains a landmark in the realm of experimental music and an integral part of the White Album’s eclectic tapestry.

Meaning of “Revolution 9”

As for its meaning, “Revolution 9” doesn’t adhere to conventional lyrical or musical structures, making it challenging to pinpoint a specific narrative or message. Instead, it’s designed to evoke emotions, create atmospheres, and stimulate the listener’s imagination. It’s a reflection of Lennon’s interest in pushing the boundaries of music and exploring unconventional forms of expression.

While some listeners interpret elements of political and social commentary within the chaotic soundscape, it’s important to note that Lennon himself described “Revolution 9” as an attempt to paint a sonic picture of a revolution. He used loops, sound effects, and recordings to convey this abstract concept through sound.

Ultimately, the meaning of “Revolution 9” is open to interpretation and can vary widely from person to person. It’s considered a prime example of experimental music, showcasing the Beatles’ willingness to explore new artistic territories.

Personnel

• John Lennon – spoken vocals, tape loops, sound effects, piano, mellotron, cymbals, screaming, mumbling
• George Harrison – spoken vocals, tape loops, sound effects, electric guitar
• Yoko Ono – spoken vocals, tape loops, sound effects
• George Martin – spoken vocals
• Alistair Taylor – spoken vocals

• Published on 1969
• Author: Lennon/McCartney
• Track 1 on “Abbey Road“
• Track 23 on “The Beatles 1967-1970” (Blue Album)

JOHN 1969: “‘Come Together’ changed at the session. We said, ‘Let’s slow it down. Let’s do this to it, let’s do that to it,’ and it ends up however it comes out. I just said, ‘Look, I’ve got no arrangement for you, but you know how I want it.’ I think that’s partly because we’ve played together a long time. So I said, ‘Give me something funky and set up a beat, maybe.’ And they all just joined in.”

PAUL 1969: “On the new album I like ‘Come Together,’ which is a great one of John’s.”

JOHN 1980: “‘Come Together’ is me– writing obscurely around an old Chuck Berry thing. I left the line ‘Here comes old flat-top.’ It is nothing like the Chuck Berry song, but they took me to court because I admitted the influence once years ago. I could have changed it to ‘Here comes old iron face,’ but the song remains independent of Chuck Berry or anybody else on earth. The thing was created in the studio. It’s gobbledygook– ‘Come Together’ was an expression that Tim Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and I tried, but I couldn’t come up with one. But I came up with this, ‘Come Together,’ which would’ve been no good to him– you couldn’t have a campaign song like that, right? Leary attacked me years later, saying I ripped him off. I didn’t rip him off. It’s just that it turned into ‘Come Together.’ What am I going to do, give it to him? It was a funky record– it’s one of my favorite Beatle tracks, or, one of my favorite Lennon tracks, let’s say that. It’s funky, it’s bluesy, and I’m singing it pretty well. I like the sound of the record. You can dance to it. I’ll buy it!” (laughs)

About “Come Together”

“Come Together” is a seminal track by The Beatles, authored by John Lennon and attributed to the Lennon-McCartney songwriting duo. It serves as the opening piece on their acclaimed 1969 album Abbey Road and was also released as a single alongside “Something.” The song soared to chart-topping heights in the US and Australia, though it secured the No. 4 spot in the UK.

This enduring classic has been covered by a range of artists including Ike & Tina Turner, Aerosmith, and Michael Jackson. Its origins trace back to John Lennon’s encounters with Timothy Leary during peace protests against the Vietnam War in early 1969. Inspired by Leary’s campaign slogan, “Come Together – Join the Party!”, Lennon crafted the song’s foundation.

Drawing from Chuck Berry’s 1956 single “You Can’t Catch Me,” Lennon initially fashioned an up-tempo blues composition. He transformed Berry’s lyrics, delivering them with rapid-fire pacing, emphasizing sound over immediate comprehension. McCartney noticed its similarity to Berry’s work and suggested a slower tempo.

Recorded at EMI Studios (now Abbey Road Studios) on July 21, 1969, the song featured Lennon on vocals, McCartney on bass, Harrison on rhythm guitar, and Starr on drums. Overdubbing followed, adding layers like handclaps, piano, distorted guitar, and vocals. Mixing concluded on August 7, employing EMI’s new solid-state console.

Released as the opening track on “Abbey Road” on September 26, 1969, it also served as a double A-side single with “Something,” enjoying immense commercial success in the US.

“Come Together” received critical acclaim and holds high rankings in various publications’ lists of the Beatles’ best songs. Rolling Stone, for instance, placed it at No. 9 on their list of the band’s 100 greatest songs. It also ranked impressively on Mojo and NME’s lists.

In a 2021 interview, Ringo Starr named “Come Together” as his favorite Beatles song. Additionally, the song was embroiled in a copyright infringement claim in late 1969, related to its resemblance to Chuck Berry’s “You Can’t Catch Me,” resulting in a settlement and subsequent release of Lennon’s album “Rock ‘n’ Roll.”

“Come Together” continues to stand as an enduring testament to The Beatles’ musical legacy and cultural impact.

Meaning of “Come Together”

“Come Together” is a song with lyrics that are often considered abstract and open to interpretation. The repeated phrase “come together” suggests a call for people to unite and work together. This could be seen as a reflection of the broader counterculture movements of the 1960s, advocating for peace, love, and unity.

Given that the song emerged during the Vietnam War era, some listeners interpret “come together” as a plea for peace and an end to conflict. The Bed-ins for Peace protests led by John Lennon and Yoko Ono, which influenced the song’s creation, further support this interpretation.

The song’s lyrics are rich with imagery and metaphors, which can be seen as celebrating individuality and uniqueness. Lines like “He got walrus gumboot” and “He shoot Coca-Cola” are often seen as vivid expressions of idiosyncrasy. Some interpret the lyrics as a commentary on various social and political issues of the time. The song’s abstract nature allows listeners to draw their own conclusions about what specific issues are being addressed.

The song is known for its unconventional lyrics and experimental musical style. It’s possible that the lyrics were not intended to convey a specific message, but were instead meant to evoke emotions and stimulate the imagination. John Lennon was known for his love of wordplay and his interest in surrealism. The lyrics of “Come Together” may reflect his desire to create vivid and imaginative imagery without necessarily adhering to a specific narrative.

Ultimately, the meaning of “Come Together” can be highly subjective, and different listeners may find different interpretations resonate with them. The song’s enduring popularity lies in its ability to evoke emotions and spark imagination in a variety of ways.

Personnel

• John Lennon – lead and backing vocals, guitar, handclaps, tambourine
• Paul McCartney – backing vocal, bass, electric piano
• George Harrison – lead and rhythm guitars
• Ringo Starr – drums, maraca

How to play “Come Together” on guitar

The guitar in “Come Together” is played by both John Lennon and George Harrison. The main guitar riff in the song is played by John Lennon. It consists of a simple, memorable series of notes that help define the song’s distinctive sound. George Harrison also contributes to the guitar work, adding layers and fills that complement Lennon’s riff.

The guitar work in “Come Together” is characterized by its bluesy and rock ‘n’ roll feel, which was a hallmark of the Beatles’ style during this period. The song’s guitar parts, along with the driving rhythm and Lennon’s distinctive vocals, contribute to the song’s overall iconic sound.

The following video features guitar cover with tab of “Come Together”:

How to play “Come Together” on bass

The bass in “Come Together” is distinctive and plays a prominent role in the overall sound of the track. The bassline is characterized by a driving, syncopated rhythm that complements the song’s bluesy and rock ‘n’ roll feel. It provides a solid foundation for the rest of the instruments and helps give the song its distinctive groove.

Paul McCartney’s bass playing was a significant element of the Beatles’ sound, and his innovative approach to the instrument influenced many bassists who came after him. His ability to create memorable and melodic basslines was one of the factors that contributed to the Beatles’ success and enduring popularity.

The following video features bass cover with tab of “Come Together”:

“Come Together” karaoke

For those who want to try singing “Come Together”, the following video presents a good karaoke version of the song:

• Published on 1969
• Author: Lennon/McCartney
• Track 6 on “Abbey Road“

GEORGE 1969: “It is very heavy. John plays lead guitar and sings, and it’s basically just an old blues riff he’s doing, but again, it’s a very original John-type song as well… It’s a very good chord sequence he used on this particular one.”

JOHN 1969: “We used a Moog synthesizer on the end. That machine can do all sounds and all ranges of sound.”

JOHN 1971: “Simplicity is evident in ‘She So Heavy.’ In fact a reviewer wrote: ‘He seems to have lost his talent for lyrics, it’s so simple and boring.’ When it gets down to it– when you’re drowning, you don’t say ‘I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,’ you just scream.”

JOHN 1980: “That’s me, about Yoko.”

About “I Want You (Shes So Heavy)”

“I Want You (She’s So Heavy)” is a powerful and intense track featured on 1969 album Abbey Road. Primarily composed by John Lennon, with contributions from Paul McCartney, the song is characterized by a repetitive, heavy riff and lyrics expressing Lennon’s infatuation and obsession.

The recording process for this song was intricate and meticulous, resulting in one of the Beatles’ most complex productions. It features layered guitars, Lennon’s distinctive lead vocals, and a prominent bassline by McCartney. The song is divided into two main sections: the first part centers on the repeated lines “I want you, I want you so bad,” while the second part boasts a lengthy instrumental section.

Influences from blues, rock, and experimental music are palpable, showcasing the band’s diverse musical tastes. “I Want You (She’s So Heavy)” was among the first songs to utilize a Moog synthesizer, creating the distinctive white noise sound in the latter part of the song. Its extended instrumental outro, marked by a repetitive riff, gradually fades out, adding a progressive and experimental touch.

Notably, the song’s abrupt ending has been a subject of discussion, as it cuts off suddenly during the final repetition of the main riff. Despite this unconventional conclusion, the track’s heavy, bluesy style and the repetition of the title phrase contribute to its hypnotic and intense atmosphere.

“I Want You (She’s So Heavy)” remains a highlight of the Beatles’ later period, celebrated for its innovative musical elements. Its enduring influence is evident through various cover versions by artists across genres. With its unique structure, intense lyrics, and powerful musical arrangement, the song stands as a testament to the Beatles’ ability to push musical boundaries and experiment with different sounds and styles.

Meaning of “I Want You (Shes So Heavy)”

“I Want You (She’s So Heavy)” is a song that has been subject to interpretation and analysis by listeners and critics alike. The meaning of the song is open to interpretation and can vary depending on the perspective of the listener.

One common interpretation is that the song expresses a deep and intense desire or obsession. The repeated refrain “I want you, I want you so bad” conveys a sense of longing or yearning. Some listeners interpret the “she” in the title as a representation of an alluring or captivating force, though it’s important to note that the lyrics don’t provide explicit context for who or what “she” might be.

Given that John Lennon wrote the song, it’s tempting to draw connections to his personal life and relationships. At the time of writing, Lennon was going through significant emotional turmoil, both in his marriage to Yoko Ono and in the disintegration of the Beatles as a cohesive unit. Some speculate that these personal struggles may have influenced the emotional intensity of the song.

Furthermore, the song’s extended and repetitive nature, particularly in the latter instrumental section, can be seen as a musical representation of obsession or fixation. The relentless, heavy guitar riff and the building intensity of the music contribute to a sense of overwhelming desire.

Ultimately, the meaning of “I Want You (She’s So Heavy)” remains somewhat elusive, and it’s open to individual interpretation. Like many of the Beatles’ songs, it invites listeners to bring their own experiences and emotions to the music, allowing for a range of personal connections and meanings to emerge.

Personnel

• John Lennon – lead and harmony vocals, lead guitars, Moog synthesizer
• Paul McCartney – harmony vocals, bass guitar
• George Harrison – harmony vocals, lead guitars
• Ringo Starr – drums, congas, wind machine
• Billy Preston – Hammond organ

• Published on 1968
• Author: Lennon/McCartney
• Track 13 on “The Beatles – White Album“

PAUL 1968: “I was sitting on the roof in India with a guitar– John and I were sitting ’round playing guitar, and we were with Donovan. And we were just sitting around enjoying ourselves, and I started playing the chords of ‘Rocky Raccoon,’ you know, just messing around. And, oh, originally it was Rocky Sassoon, and we just started making up the words, you know, the three of us– and started just to write them down. They came very quickly. And eventually I changed it from Sassoon to Raccoon, because it sounded more like a cowboy. So there it is. These kind of things– you can’t really talk about how they come ‘cuz they just come into your head, you know. They really do. And it’s like John writing his books. There’s no… I don’t know how he does it, and he doesn’t know how he does it, but he just writes. I think people who actually do create and write… you tend to think, ‘Oh, how did he do that,’ but it actually does flow… just flows from into their head, into their hand, and they write it down, you know. And that’s what happened with this. I don’t know anything about the Appalachian mountains or cowboys and indians or anything. But I just made it up, you know. And the doctor came in stinking of gin and proceeded to lie on the table. So, there you are.”

PAUL circa-1994: “I like talking-blues so I started off like that, then I did my tongue-in-cheek parody of a western and threw in some amusing lines. The bit I liked about it was him (Rocky) finding Gideon’s Bible and thinking, ‘Some guy called Gideon must have left it for the next guy.’ I like the idea of Gideon being a character. You get the meaning, and at the same time get in a poke at it. All in good fun.”

About “Rocky Raccoon”

“Rocky Raccoon” is a standout track from The Beatles’ 1968 double album, widely known as the White Album. Penned primarily by Paul McCartney, it bears the iconic Lennon-McCartney credit. The song’s genesis dates back to Rishikesh, India, where The Beatles immersed themselves in Transcendental Meditation in early 1968. During this time, both John Lennon and Scottish singer-songwriter Donovan, who were part of this retreat, contributed to its creation. Notably, Richie Havens’ cover version of the song charted at number 76 in Canada in 1969.

Regarding its composition, McCartney initially conceived the character as “Rocky Sassoon,” but opted for “Rocky Raccoon” because of its more cowboy-like feel. The name “Rocky” was reportedly influenced by Roky Erickson, the American rock band’s frontman. It’s suggested that McCartney drew inspiration from Robert Service’s poem “The Shooting of Dan McGrew.” Furthermore, there’s a belief that McCartney based the lyrics on a story shared by Canadian photographer and filmmaker Paul Saltzman during their time in Rishikesh.

The song is a country ballad featuring an Old West-style honky-tonk piano played by producer George Martin. Notably, “Rocky Raccoon” is the final Beatles track showcasing John Lennon’s harmonica skills. The narrative depicts a love triangle, with Rocky’s girlfriend, known as Nancy, leaving him for a man named Dan, culminating in a dramatic showdown.

One distinctive musical element is Ringo Starr’s emphasized snare drum beat, cleverly mimicking the sound of a gunshot. An amusing anecdote involves McCartney’s flub during a recording, replacing “stinking of gin” with “sminking,” prompting laughter and a creative ad-lib.

In terms of legacy, McCartney humorously acknowledged the song’s pastiche style, while Lennon credited McCartney with its creation. Marking its 50th anniversary, “Rocky Raccoon” was ranked at number 22 in The Independent’s assessment of the White Album’s 30 tracks. The song was lauded for showcasing McCartney’s songwriting versatility and benefited from the vibrant piano work of longtime producer George Martin.

Meaning of “Rocky Raccoon”

“Rocky Raccoon” narrates a tale set in the Old West. Rocky Raccoon arrives at a room, finding Gideon’s Bible, suggesting an old-fashioned setting. Armed and seeking revenge, he confronts his rival, Dan, who has taken Nancy, the girl Rocky cared for. Nancy’s full name is revealed to be Lil Magill, but she prefers Nancy. They’re in a nearby room, possibly at an event.

Rocky enters with confidence, grinning, and declares it a showdown. However, Dan acts swiftly, firing his gun before Rocky can. Rocky is wounded and falls. A doctor, somewhat inebriated, examines him and suggests Rocky’s met his match. Rocky insists it’s merely a scratch and he’ll recover swiftly.

Returning to his room, Rocky once again finds Gideon’s Bible, hinting that someone named Gideon had been there before him.

The song paints a vivid picture of a love triangle involving Rocky, Nancy (Lil Magill), and Dan. Rocky seeks revenge on Dan, but the confrontation ends with Rocky being shot. The lyrics have a whimsical, almost folkloric quality, and the narrative is presented in a way that evokes a story or fable from the Old West.

Personnel

• Paul McCartney – lead vocals, acoustic guitar
• John Lennon – backing vocals, harmonium, six-string bass, harmonica
• George Harrison – backing vocals, bass[11]
• Ringo Starr – drums
• George Martin – honky-tonk piano
• Yoko Ono – backing vocals

• Published in 1969
• Author: Lennon/McCartney
• Track 20 on “The Beatles 1967-1970” (Blue Album)
• Track 11 on “Past Masters Volume 2“

JOHN 1969: “It’s something I wrote, and it’s like an old-time ballad. It’s just the story of us getting married, going to Paris, going to Amersterdam, all that.”

About “The Ballad of John And Yoko”

“The Ballad of John and Yoko” is a song written primarily by John Lennon, although credited to the songwriting partnership of Lennon-McCartney. It was released as a single in May 1969 backed by “Old Brown Shoe“, at a time when the Beatles were facing internal tensions. Lennon and McCartney were the primary contributors to the song, with Lennon providing lead vocals and playing guitar, and McCartney handling bass, drums, piano, and backing vocals.

The song narrates the events of Lennon and Yoko Ono’s wedding and honeymoon, reflecting the media frenzy and public interest surrounding their relationship. It serves as a semi-autobiographical account of their experiences, conveying a mix of personal sentiments and social commentary. The lyrics include references to their civil wedding ceremony in Gibraltar, their stay in Amsterdam as part of their “Bed-Ins for Peace” protest, and the challenges they faced from the media and public scrutiny.

The song is characterized by a stripped-down, acoustic sound, reflecting the relatively simple instrumentation used in its recording. This marked a departure from the more elaborate production of some of the Beatles’ previous work.

“The Ballad of John and Yoko” achieved commercial success, reaching the number one spot on the UK Singles Chart in June 1969. It also performed well in various international charts. Due to the song’s direct and personal nature, it generated some controversy. Some radio stations refused to play it, particularly in the United States. Despite this, it received positive reviews from critics and remains a notable entry in the Beatles’ discography.

The song’s legacy endures as a poignant reflection of John Lennon and Yoko Ono’s relationship and their public life together. It provides a candid glimpse into the tumultuous period in which it was written and recorded. “The Ballad of John and Yoko” stands as a testament to Lennon’s willingness to express his personal life through his music. It also captures a snapshot of the turbulent cultural and political climate of the late 1960s.

Overall, “The Ballad of John and Yoko” is a unique entry in The Beatles’ catalog, offering a candid and personal account of a pivotal moment in the lives of John Lennon and Yoko Ono. It remains a memorable piece of music history.

Meaning of “The Ballad of John and Yoko”

“The Ballad of John and Yoko” is a semi-autobiographical song written by John Lennon, which recounts significant events in his life, particularly his marriage to Yoko Ono and their public activities together.

The song starts with John Lennon recounting how he and Yoko Ono got married in Gibraltar. This reflects the real-life events of March 20, 1969, when Lennon and Ono had a civil wedding in Gibraltar to circumvent some bureaucratic hurdles.

The line “Drove from Paris to the Amsterdam Hilton“ refers to John and Yoko’s famous “Bed-Ins for Peace.” Instead of a traditional honeymoon, they decided to hold a non-violent protest against the Vietnam War. They chose to stay in bed at the Amsterdam Hilton hotel for a week, using their honeymoon as a platform to promote peace and global understanding.

The lyrics highlight the intense media scrutiny and public interest surrounding John and Yoko’s relationship and their peace activism. The line “You can get married in Gibraltar near Spain” touches on the unconventional nature of their wedding and the attention it garnered.

“The way things are going, they’re gonna crucify me“ reflects Lennon’s awareness of the controversy and criticism he faced from both the media and the public due to his outspokenness on political and social issues. It’s a metaphorical expression of the challenges he encountered.

The lyrics humorously alludes to the media’s insatiable appetite for celebrity news and their tendency to focus on superficial details rather than the substantive messages John and Yoko were trying to convey.

“The Ballad of John and Yoko” serves as a snapshot of a crucial period in John Lennon’s life and The Beatles’ history. It encapsulates Lennon’s candid reflection on his relationship with Yoko Ono, their joint efforts to promote peace, and their encounters with the media and public scrutiny. The song stands as a testament to their commitment to social and political activism during a tumultuous time in the late 1960s.

Personnel

• John Lennon – lead vocal, lead guitars, acoustic guitar, percussion
• Paul McCartney – bass guitar, drums, piano, maracas, harmony vocal

• Published in 1969
• Author: Lennon/McCartney
• Track 3 on “Let It Be“
• Track 27 on “The Beatles 1967-1970” (Blue Album)
• Track 13 on “Past Masters Volume 2“

John Lennon’s quotes about “Across The Universe”

JOHN 1972: “One of my best songs. Not one of the best recordings, but I like the lyrics.”

JOHN 1980: “I was a bit more artsy-fartsy there. I was lying next to my first wife in bed, (song originally written in 1967) you know, 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 a sort of cosmic song rather than an irritated song– rather than ‘Why are you always mouthing off at me?’ or whatever, right? …and I’ve sat down and looked at it and said, ‘Can I write another one with this meter?’ It’s so interesting. ‘Words are flowing out like endless rain into a paper cup/ They slither while the pass, they slip away across the universe.’ Such an extraordinary meter and I can never repeat it! It’s not a matter of craftsmanship– it wrote itself. It drove me out of bed. I didn’t want to write it… and I couldn’t get to sleep until I put it on paper… It’s like being possessed– like a psychic or a medium. The thing has to go down. It won’t let you sleep, so you have to get up, make it into something, and then you’re allowed to sleep. That’s always in the middle of the night when you’re half-awake or tired and your critical facilities are switched off.”

About “Across the Universe”

“Across the Universe” is a timeless composition by The Beatles. Penned by John Lennon and officially credited to the Lennon-McCartney songwriting duo, it made its debut on the 1969 charity compilation album ‘No One’s Gonna Change Our World.’ Later, a modified version found its place on Let It Be, marking the band’s final released album and also made its way onto the 1988 compilation Past Masters, Volume Two. The enduring appeal of this song is evident in the numerous covers, including David Bowie’s rendition on his 1975 album ‘Young Americans,’ which boasted contributions from Lennon himself.

The genesis of this poetic masterpiece can be traced back to a night in 1967 when the phrase “words are flowing out like endless rain into a paper cup” came to Lennon after a conversation with his then-wife Cynthia. He recounted the moment: “I was lying next to my first wife in bed, you know, and I was irritated, and I was thinking. 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 a sort of cosmic song rather than an irritated song, rather than a ‘Why are you always mouthing off at me?’ [The words] were purely inspirational and were given to me as boom! I don’t own it you know; it came through like that.”

The song’s structure is elegantly simple: three iterations of a unit comprising a verse, the line “Jai guru deva om,” and the line “Nothing’s gonna change my world,” repeated four times. The lyrics are vividly evocative, painting abstract concepts with tangible images, like thoughts “meandering,” words “slithering,” and undying love “shining.” The title phrase, “across the universe,” punctuates lines at intervals, never fully resolving, always ascending melodically. It concludes on a leading note, leaving the Western musical ear anticipating the tonic, thereby instilling a sense of unresolved anticipation.

In a 1970 interview with Rolling Stone, Lennon held this composition in high regard, deeming it perhaps the finest, most poetic lyric he ever crafted: “It’s one of the best lyrics I’ve written. In fact, it could be the best. 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.”

Meaning of “Across the Universe”

The lyrics of “Across the Universe” are known for their poetic and somewhat abstract quality. The song’s essence was deeply influenced by Lennon’s and The Beatles’ engagement with Transcendental Meditation in the late 1967 to early 1968 period, when the song took form. As a result, he incorporated the mantra “Jai guru deva om” into the piece, serving as a pivotal link to the chorus. The Sanskrit phrase holds rich, multifaceted meanings, ranging from “Victory to God divine” to “Hail to the divine guru.” It was a phrase frequently invoked by the late Maharishi Mahesh Yogi, referring to his spiritual mentor, “All glory to Guru Dev.”

The song evokes a sense of cosmic and transcendental imagery, with phrases like “Words are flowing out like endless rain into a paper cup” and “Limitless undying love which shines around me like a million suns.” These lines convey a feeling of boundless and all-encompassing love and inspiration.

The song’s chorus features the repeated refrain of “Nothing’s gonna change my world,” which can be interpreted as an assertion of inner peace and acceptance, regardless of external circumstances.

“Across the Universe” is often seen as a reflection on the interconnectedness of all things, the power of love, and a sense of universal unity. It’s worth noting that John Lennon has mentioned that the song’s lyrics were inspired by a surreal, poetic style, and the imagery was influenced by his experiences with meditation and the writings of Yoko Ono.

The song has been interpreted and appreciated in various ways by different listeners, and its meaning can be quite personal and subjective.

Personnel

(Let It Be version)

• John Lennon – lead vocal, acoustic guitar, electric guitar
• Paul McCartney – piano
• George Harrison – sitar, tambura
• Ringo Starr – maracas, bass drum
• Phil Spector – strings and choir

How to play “Across the Universe” on guitar

John Lennon’s guitar intro in “Across the Universe” is fingerpicked. This technique allows for a softer and more nuanced sound, which suits the meditative and introspective mood of the song.
The following video shows how to play intro and rythm section of “Across the Universe” on guitar:

“Across the Universe” karaoke

If you want to test yourself and sing “Across the Universe” like John Lennon, here is the karaoke version of the song:

• Lyrics of “Across The Universe”