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Oh Look Out! Part 10-A The Beatles (The White Album)
by John T. Marck

Due to the album length, I bring you The Beatles (The White Album) in two parts. The Beatles did it again, with another masterpiece, described as the most diverse record in pop history. On one hand this was an amazing outcome, as at this time, The Beatles were on the verge of breaking up, and there was lots of tension. They had business meetings in the studio, beds were there, and people were always in and out. Despite this, "The White Album," is easily one of The Beatles best! Be sure to check out Part B for the remaining song titles and lyrics. This two record set was released on November 22, 1968. What is so unique about this album, is that although it is The Beatles in all their brilliance, it is actually a recording by four solo artists in one band. It is almost if you looked at each track, it would be John, then Paul, then George, then Ringo as solo artists, backed up by the band. It is in a word, phenomenal!

 

 

 

Oh Look Out! Songs and Albums of The Beatles

Part 10-A

The Beatles (The White Album), Part 1

"Well Here's Another Clue for all, the Walrus is Paul"

 

This album, called simply "The Beatles," and known as the "White Album," is surely The Beatles' most disparate album. It came at a time in 1968 when The Beatles were in their "psychedelic" phase, and going through enormous tensions among themselves. At one point Ringo quit the group, then returned when he realized that the album was continuing without him. The main problem was between Harrison and McCartney, as George believed he was being treated as a junior member of the group. Combine this with the fact that Lennon insisted that Yoko Ono be present in the studio, and her treatment by Paul and George, who did not want her there. It was to say the least, a strange time. It was the first time in their history that beds were present in the recording studio at Abbey Road, as well as visitors would stop in at all hours. But there were others pressures that befell The Beatles. There was a total lack of management since their manager, Brian Epstein died in August 1967. As a result, besides their music, The Beatles now had to contend with the business and financial affairs of the group. McCartney maintained a discriminate interest in these affairs, while Lennon and Harrison had a devil-may-care attitude, thus they bumped heads again. Their company, Apple, LTD., which was a multi-genre empire, was sliding into a haphazard condition.

Having just come from their numerous visits with their idol, the Maharishi, and disillusioned after they learned he was a farce, (see Sexy Sadie in Part 6-B) the group, individually and collectively became aware that without any leadership or direction, they seemed to have no cohesive purpose. With this in mind, it also lends to the genius of The Beatles, as the "White Album," turned out to be a performance of brilliance. This is one time that their producer George Martin was probably wrong. He wanted The Beatles to throw away the banter, and make an album of polished treasures. But The Beatles wanted it all left in. Consequently, the chaos of it all allowed them to show all aspects of their music. This resulted in the first and last time a group in pop history recorded rock 'n' roll, soul, blues, folk, country, and reggae, and still, somehow throughout them all, maintained that wonderful sound of The Beatles.

Back in the days when stereo recordings were first made, The Beatles would release two versions of each album, one in monaural and the other in stereo. Remember these days when a stereo album cost one dollar more than the monaural? With the "White Album," it would be the last time The Beatles released both versions. At the time, The Beatles took great care and delight in making the two versions as different as possible from each other. Just about all the songs on the stereo and mono versions have variations that make them different. One case, more extreme than most is where the stereo version is twenty seconds longer than its mono counterpart.

So now lets take a look at the songs and the lyrics, and what they mean. Be sure to check out part two (Part 6-B) of this album. Due to its length, I had to make it in two parts.

Back In The USSR

Lennon/McCartney

The recording for this song began on August 22, 1968. When The Beatles gathered together in the studio to begin, tempers flared between Ringo and Paul, and Ringo walked out, announcing he was quitting The Beatles. In his place on this song, Paul played the drums, and with John and George, the entire track was completed without Ringo.

During this time, The Beatles had a friendly relationship and rivalry with the Beach Boys. The longest time spent with them was on one of their trips to Rishikesh, India to visit the Maharishi Mahesh Yogi. During this time, The Beatles and Beach Boys, along with Donovan, would jam and write songs together. Paul wrote "Back In The USSR," as a medley based on the Beach Boys and Chuck Berry. It was derived from a song by Berry in 1959 called "Back in The USA." Berry's song expressed his joy of being back in America with all its drive-ins, hamburgers, juke boxes, etc. Then Paul combined this with the Beach Boys song "California Girls," changing the love interest to Georgia girls and the Ukraine, speaking of them as if it was California. It was perceived by many Americans as a song that promoted the Russians in a time when the United States was at war with the Russian supported Viet Cong. But it wasn't this at all. It was merely a parody using the USSR in place of familiar settings like California.

Flew in from Miami Beach BOAC, didn't get to bed last night

Oh, the way the paper bag was on my knee, man, I had a dreadful flight

I'm back in the USSR, You don't know how lucky you are, boy, back in the USSR

Been away so long I hardly knew the place, gee, it's good to be back home

Leave it till tomorrow to unpack my case, honey disconnect the phone

I'm back in the USSR, You don't know how lucky you are, boy, back in the US, back in the US, back in the USSR

Well the Ukraine girls really knock me out, they leave the west behind, and Moscow girls make me sing and shout

That Georgia's always on my my my my my my my my my mind

Oh, come on, hu hey hu, hey, ah, yeah yeah, yeah, yeah,

I'm back in the USSR, you don't know how lucky you are, boys

Back in the USSR

Well the Ukraine girls really knock me out, they leave the west behind, and Moscow girls make me sing and shout

That Georgia's always on my my my my my my my my my mind

Oh, show me round your snow peaked mountain way down south

Take me to you daddy's farm, let me hear you balalaika's ringing out, come and keep your comrade warm

I'm back in the USSR, hey, you don't know how lucky you are, boy, back in the USSR, oh, let me tell you honey

Dear Prudence

 Lennon/McCartney

This song written by John is a tribute to Prudence Farrow, the sister of Mia Farrow. She inspired the song for Lennon at the Maharishi's retreat, when she would not join the activities, staying instead in long periods of meditation. The others wanted her to join them and Lennon enticed her to join in. Lennon improved on the song by adding visions of world beauty. It was probably the only positive song to come out of Lennon's many visits to India.

Dear Prudence won't you come out to play, dear Prudence greet the brand new day

The sun is up the sky is blue, it's beautiful and so are you, dear Prudence won't you come out to play?

Dear Prudence open up your eyes, dear Prudence see the sunny skies

The wind is low the birds will sing, that you are part of everything, dear Prudence, won't you open up your eyes?

Look around round, look around round round, look around

Dear Prudence let me see your smile, dear Prudence like a little child

The clouds will be a daisy chain, so let me see your smile again, dear Prudence won't you let me see you smile?

Dear Prudence won't you come out to play, dear Prudence greet the brand new day

The sun is up the sky is blue, it's beautiful and so are you, dear Prudence won't you come out to play?

Glass Onion

 Lennon/McCartney

Written by Lennon, and like his "I Am The Walrus," Glass Onion," is just another playful song in response to those people who pondered his work looking for hidden clues and meanings. The song is really a collection of words and phrases that Lennon took from other Beatles' songs. He used: Strawberry Fields Forever; There's A Place; Within You, Without You; I Am The Walrus; Lady Madonna; The Fool On The Hill; and Fixing A Hole. Lennon jokingly said that the walrus from "I Am The Walrus," was really Paul. This led to all sorts of rumors that seemed to confirm that McCartney had been killed in an automobile accident, because in some primitive cultures, the walrus is a symbol of death. In many of The Beatles' songs there are insurmountable clues to the "Paul is Death" rumor.

In addition to using already existing images from these other songs, Lennon came up with four new ones in "Glass Onion" that really fell into the hands of the people trying to figure out what he was saying. These new images were: bent back tulips; a glass onion; the Cast-Iron Shore; and a dovetail joint. /b>

The bent back tulips were real tulips that were in flower arrangements in a restaurant known as Parkes in London. In these arrangements, the tulip petals were bend back so that you could see the obverse side as well as the stamen. When Lennon referred to them in this song, this is what he meant by "seeing how the other half lives." The glass onion is a name that Lennon wanted to use for a new group that The Beatles signed with Apple Records in July 1968. This group, formerly the Iveys, didn't like the glass onion name, but rather chose "Badfinger," after "Badfinger Boogie," the original title of The Beatles song, "With A Little Help From My Friends. " Additionally, glass onion was believed to be the slang phrase for the glass handles on the side of coffins in England. This further fueled the "Paul is Death" theory.

Lennon's Cast-Iron Shore was the real name for Liverpool's Beach, also known as the Cassie, and the dovetail joint, was the same phrase used in wood working joints.

I told you about strawberry fields, you know the place where nothing is real

Well here's another place you can go, where everything flows

Looking through the bent backed tulips, to see how the other half lives, looking through a glass onion

I told you about the walrus and me, man, you know that we're as close as can be, man

Well here's another clue for you all, the walrus is Paul

Standing on the cast iron shore, yeah, Lady Madonna trying to make ends meet, yeah

Looking through a glass onion, oh yeah, oh yeah, oh yeah, looking through a glass onion

I told you about the fool on the hill, I tell you man he's living there still

Well here's another place you can be, listen to me, fixing a hole in the ocean, tryin' to make a dovetail joint

Looking through a glass onion

Ob-La-Di, Ob-La-Da

Lennon/McCartney

A song by Paul, it came from the phrase, Ob-La-Di, Ob-La-Da, that means "life goes on," that Paul heard by a man named Jimmy Anonmuogharan Scott Emuakpor, a Nigerian Congo player who played in a group known as Bad Manners. Paul met him in the Bag o' Nails club in Solo, London. When Paul wrote the song, Jimmy Scott was annoyed, citing that he should receive some of the financial rewards for it. McCartney responded by telling him that if he had written any part of it, he would be glad to pay him, but he didn't. Scott sued, and meanwhile, was jailed for refusing to pay support to his ex-wife. Jimmy appealed to Paul to pay his rather large past support payment, which Paul did to help him out, but on the condition that Jimmy drop his case against him over the song. Jimmy did and he and Paul came to be and remained close friends over the years until Scott's death in 1986.

Paul loved this song and made many takes of it, driving the remaining three Beatles' crazy. McCartney wanted it released also as a single, but Lennon hated it and refused to let that happen. Consequently, a Scottish group known as Marmalade recorded it and had a number one hit. There is a mistake in the song where McCartney sang that "Desmond stayed at home and did his pretty face," when it should have been as the other similar line, referring to Molly. The three other Beatles liked the error, and it remained.

Desmond has a barrow in the marketplace, Molly is the singer in a band, Desmond says to Molly, girl I like you face

and Molly says this as she takes him by the hand, Ob-la-di, ob-la-da,life goes on, bra, la la how the life goes on

Ob-la-di, ob-la-da, life goes on, bra, la la how the life goes on

Desmond takes a trolley to the jewelers store, buys a twenty carat golden ring, (rin-ring)

Takes it back to Molly waiting at the door, and as he gives it to her she begins to sing (sin-sing)

Ob-la-di,ob-la-da, life goes on, bra, la la how the life goes on, Ob-la-di, ob-la-da

life goes on, bra, la la how the life goes on, yeah, In a couple of years they have built a home sweet home

With a couple of kids running in the yard, of Desmond and Molly Jones

Happy ever after in the market place, Desmond lets the children lend a hand

Molly stays at home and does her pretty face, and in the evening she still sings it with the band, YES

Ob-la-di, ob-la-da, life goes on, bra, la la how the life goes on,Yeah Ob-la-di, ob-la-da

life goes on, bra, la la how the life goes on

In a couple of years they have built a home sweet home, With a couple of kids running in the yard, of Desmond and Molly Jones Yeah, happy ever after in the market place, Molly lets the children lend a hand

Desmond stays at home and does his pretty face, and in the evening she's a singer with the band, Yeah

Ob-la-di, ob-la-da, life goes on, bra, la la how the life goes on,

Ob-la-di,ob-la-da, life goes on, bra, la la how the life goes on, And if you want some fun, take Ob-la-di-bla-da

 

Wild Honey Pie

Lennon/McCartney

This came from one of the spontaneous singalongs while in India. The Beach Boys Mike Love wrote "Wild Honey," and Paul wrote this. Enough said.

Honey pie, honey pie, honey pie, honey pie, honey pie, honey pie, honey pie, honey pie, I love you honey pie

 

The Continuing Story Of Bungalow Bill

Lennon/McCartney

Written by John, this song is about a young American college student named Richard A. Cooke III, who was the son of a lady named Nancy, who was at the retreat in India at the same time as The Beatles. Richard really did go on a tiger hunt with his mother, and he did shoot and kill a tiger, and this song mocks that event.

Hey, Bungalow Bill, what did you kill, Bungalow Bill, hey, Bungalow Bill, what did you kill, Bungalow Bill

He went out tiger hunting with his elephant and gun, In case of accidents he always took his mom

He's the all American bullet-headed Saxon mother's son, all the children sing

Hey, Bungalow Bill, what did you kill, Bungalow Bill, hey Bungalow Bill, what did you kill, Bungalow Bill

Deep in the jungle where the mighty tiger lies, Bill and his elephants were taken by surprise

So Captain Marvel zapped him right between the eyes, all the children sing

Hey,Bungalow Bill, what did you kill, Bungalow Bill, hey Bungalow Bill, what did you kill, Bungalow Bill

The children asked him if to kill was not a sin, "not when he looked so fierce" his mommy butted in

If looks could kill it would have been us instead of him, all the children sing

Hey, Bungalow Bill, what did you kill, Bungalow Bill, hey, Bungalow Bill, what did you kill, Bungalow Bill

Hey,Bungalow Bill, what did you kill, Bungalow Bill, hey Bungalow Bill, what did you kill, Bungalow Bill

Hey, Bungalow Bill, what did you kill, Bungalow Bill, hey, Bungalow Bill, what did you kill, Bungalow Bill

Hey, Bungalow Bill, what did you kill, Bungalow Bill, hey, Bungalow Bill, what did you kill, Bungalow Bill

While My Guitar Gently Weeps

George Harrison

George was at this time enthralled with reading I Ching, and decided to apply its principles of chance into his writing. While at his parents' home, he picked a book from a shelf, and told himself that he would write a song based on the novel's first words. They were "gently weeps," thus he wrote this song around and with those words.

I look at you all, see the love there that's sleeping, while my guitar gently weeps

I look at the floor and I see it need sweeping, still my guitar gently weeps

I don't know why nobody told you, how to unfold you love

I don't know how someone controlled you, they bought and sold you

I look at the world and I notice it's turning, while my guitar gently weeps

With every mistake we must surely be learning, still my guitar gently weeps

I don't know how you were diverted, you were perverted too, I don't know how you were inverted, no one alerted you

I look at you all see the love there that's sleeping, while my guitar gently weeps

I look at you all, still my guitar gently weeps

Happiness Is A Warm Gun

Lennon/McCartney

Written by Lennon, who got the idea from a gun magazine cover that read, "Happiness Is A Warm Gun In Your Hands," also Lennon's original song title. The song dealt with three themes. The first was Lennon's indignation of the American firearms lobby; the second was a sort of rock 'n' roll history; and the last was imagery that conveyed Lennon's sexual passion for Yoko.

She's not a girl who misses much, do do do do do do, oh, yeah

She's well acquainted with the touch of the velvet hand like a lizard on a window pain

The man in the crowd with the multicolored mirror on his hobnail boots

Lying with his eyes while his hands are busy working overtime

A soap impression of his wife which he ate and donated to the National Trust

I need a fix cause I'm going down, down to the bits that I left uptown

I need a fix cause I'm going down, Mother Superior jump the gun,

Mother Superior jump the gun, Mother Superior jump the gun

Mother Superior jump the gun, Mother Superior jump the gun, Mother Superior jump the gun

Happiness is a warm gun,(bang, bang, shoot, shoot), happiness is a warm gun mama (bang, bang, shoot, shoot)

When I hold you in my arms, (oh yeah) and I feel my finger on your trigger (oh yeah)

I know nobody can do no harm, because, happiness is a warm gun mama (bang, bang, shoot, shoot)

Happiness is a warm gun, yes it is, (bang, bang, shoot, shoot),

Happiness is a warm, yes it is, gun (happiness, bang, bang, shoot, shoot)

Ah, don't you know that, happiness (happiness) is a warm gun mama, (is a warm gun yeah)

Martha My Dear

Lennon/McCartney

The name for this song by Paul came from his Old English Sheepdog. But, it wasn't about a dog, but was another of Paul's songs directed at his former love interest Jane Asher. Although but this time in 1968 Paul had started dating Linda Eastman, in this song, Paul is asking Jane not to forget him, as he believed they were really meant for each other. Paul went on to marry Linda in 1969, and Jane married cartoonist Gerald Scarfe in 1981, a relationship formed in the seventies.

Martha my dear though I spend days in conversation, please remember me

Martha my love don't forget me, Martha my dear, hold you head up you silly girl, look what you've done

When you find yourself in the thick of it, help yourself to a bit of what is all around you Silly girl take a good look around you, take a good look you're bound to see

That you and me were meant to be for each other, silly girl, hold your hand out you silly girl, see what you've done

When you find yourself in the thick of it, help yourself to a bit of what is all around you, silly girl

Martha my dear you have always been my inspiration, please be good to me,

Martha my love don't forget me, Martha my dear

I'm So Tired

 Lennon/McCartney

Lennon wrote this song as a result of the required two 90-minute sessions per day in India, followed by prolonged periods of medication. I completely understand.

I'm so tired, I haven't slept a wink, I'm so tired, my mind is on the blink

I wonder should I get up and fix myself a drink, no, no, no

I'm so tired, I don't know what to do, I'm so tired, my mind is set on you

I wonder should I call you but I know what you'd do, you'd say I'm putting you on,

But it's no joke, It's doing me harm, you know I can't sleep

I can't stop my brain, you know it's three weeks, I'm going insane

You know I'd give you everything I've got for a little peace of mind

I'm so tired, I'm feeling so upset, although I'm so tired, I'll have another cigarette

And curse Sir Walter Raleigh, he was such a stupid get, you'd say I'm putting you on,

But it's no joke, it's doing me harm, you know I can't sleep,

I can't stop my brain, you know it's three weeks, I'm going insane

You know I'd give you everything I've got for a little peace of mind

Give you everything I've got for a little peace of mind, give you everything I've got for a little peace of mind

Give you everything I've got for a little peace of mind

Blackbird

 Lennon/McCartney

Written by Paul on his farm in Scotland, the original inspiration was from a well-known piece by Bach, that he never knew the title of, that he and George used to play as kids. Originally Paul had in mind a black woman, rather than a bird. These were the days of the civil-rights movement, something that Paul and the other Beatles cared passionately about. Consequently, Paul is really writing this song to a black woman, who was experiencing the many associated problems concerning civil-rights in the United States. Paul is saying to his woman (or any black woman) to keep trying, to keep the faith, and that there is hope. Rather than using specifics, Paul used a blackbird, that became symbolic so that it could be applied to any situation or problem. One of Paul's themes of "taking a sad song and making it better," is used again here.

Blackbird singing in the dead of night, take these broken wings and learn to fly

All your life, You were only waiting for this moment to arise

Blackbird singing in the dead of night, take these sunken eyes and learn to see

All you life, you were only waiting for this moment to be free

Blackbird fly, blackbird fly, into the light of the dark black night

Blackbird fly, blackbird fly, into the light of the dark black night, you were only waiting for this moment to arise

You were only waiting for this moment to arise

Piggies

George Harrison

George wrote this song merely as a humorous social satire, but it unfortunately took on another role and meaning. At the time, the so-called counter-culture adopted the song as its anthem against police. It became further notorious when Charles Mansion, in his very disturbed mind, believed the phrase "a damn good whacking," meant against the American police. During the murders of Sharon Tate, the LaBianca's and others, knives and forks were used to stab them, because these utensils were mentioned in the song, and the words "pig and piggy," were written with the victims blood on the walls. Naturally Harrison was horrified when he learned his song took on another meaning. It was meant to be a simple commonplace song, and the line "damn good whacking," actually came from a suggestion from George's mother, when he asked her for a word that rhymed with backing and lacking. It had nothing at all to do with American police.

Have you seen the little piggies crawling in the dirt, and for all the little piggies, life is getting worse

Always having dirt to play around in, have you see the bigger piggies, in their starched white shirts

You will find the bigger piggies, stirring up the dirt, always have clean shirts to play around in

In their sties with all their backing, they don't care what goes on around

In their eyes there's something lacking, what they need's a darn good whacking

Everywhere there's lots of piggies, living piggy lives, you can see them out for dinner, with their piggy wives

Clutching forks and knives, to eat their bacon

One more time

Rocky Raccoon

Lennon/McCartney

Originally titled, "Rocky Sassoon," this was Paul's country-western song. It was his version of a musical western, and the name was changed to "Raccoon," because it sounded more like a cowboy. It's theme was derived from a true life event of Paul's in May 1966. While rather stoned one day, Paul cut his lip and chipped a tooth. The doctor acted as described in the song, stinking of gin, etc. He did a lousy job of stitching Paul's lip, and left him with a lump that stayed on his lip for a while thereafter.

Now somewhere in the black mountain hills of Dakota, there lived a young boy named Rocky Raccoon (na)

And one day his woman ran off with another guy,

Hit young Rocky in the eye, Rocky didn't like that he said I'm gonna get that boy

So one day he walked into town booked himself in the local saloon

Rocky Raccoon checked into his room, only to find Gideon's bible

Rocky had come, equipped with the gun, to shoot off the legs of his rival

His rival it seems, had broken his dreams, by stealing the girl of his fancy

Her name was Magill, and she called herself Lil, but everyone knew her as Nancy

Now she and her man, who called himself Dan, were in the next room at the hoe-down

Rocky burst in, and grinning a grin, he said Danny boy this is a show down

Daniel was hot he drew first and shot, and Rocky collapsed in the corner

Now the doctor came in stinking of gin, and proceeded to lie on the table

He said Rocky you met your match, and Rocky said, Doc it's only a scratch

And I'll be better, I'll be better Doc as soon as I am able

And now Rocky Raccoon he fell back in his room, only to find Gideon's bible

Gideon checked out and he left it no doubt, to help with good Rocky's revival, ah, oh yeah, yeah, da, da, da, da

Don't Pass Me By

Richard Starkey (Ringo Starr)

This was Ringo's first song that he wrote by himself, in 1964. From time to time The Beatles thought of recording it, but didn't get around to it until 1968. This is one good example of the differences in the stereo and mono versions. Lennon and McCartney experimented with the track and the two versions run at recognizably different speeds with instrumental variations in the overdubs. Pretty cool though!

I listen for your foot steps, coming up the drive, listen for you foot steps, but they don't arrive

Waiting for you knock, dear, on my old front door, I don't hear it, does it mean you don't love me anymore?

I hear the clock a ticking on the mantel shelf, see the hands a moving, but I'm by myself

I wonder where you are tonight, and why I'm by myself, I don't see you, does it mean you don't love me anymore? Don't pass me by, don't make me cry, don't make me blue, 'cause you know darling I love only you

You'll never know it hurt me so, how I hate to see you go, don't pass my by, don't make me cry

I'm sorry that I doubted you, I was so unfair, you were in a car crash, and you lost you hair

You said that you would be late, about and hour or two,

I said that's all right, I'm waiting here, just waiting to hear from you,

Don't pass me by, don't make me cry, don't make me blue

'Cause you know darling I love only you, you'll never know it hurt me so

How I hate to see you go, don't pass my by, don't make me cry

Don't pass me by, don't make me cry, don't make me blue

'Cause you know darling I love only you, you'll never know it hurt me so

How I hate to see you go, don't pass my by, don't make me cry

Why Don't We Do It In The Road

Lennon/McCartney

John Lennon and Paul McCartney were constantly competing with each other in their song writing. They would at times, write songs in the style of each other. Lennon wrote for example "Julia," and "Goodnight," in Paul's style, and McCartney wrote "Helter Skelter," and this one, "Why Don't We Do It In The Road," in John's style. Lennon said that McCartney's vocals on this one was one of his best.

Why don't we do it in the road, why don't we do it in the road,

Why don't we do it in the road, why don't we do it in the road

No one will be watching us, why don't we do it in the road

Why don't we do it in the road, why don't we do it in the road

Why don't we do it in the road, why don't we do it in the road

No one will be watching us, why don't we do it in the road

Why don't we do it in the road, why don't we do it in the road

Why don't we do it in the road, why don't we do it in the road

No one will be watching us, why don't we do it in the road

I Will

Lennon/McCartney

This is one of my favorites of McCartney's many love songs. Simply written, but oh what a song! Paul wrote this song in 1968 directly for Linda Eastman, whom he was only dating at the time. He obviously felt he knew her well-enough and was confident in offering his love forever, and he was right. Being the perfectionist that Paul is, he recorded 67 takes of this song before he got it the way he wanted.

Who knows how long I've loved you, you know I love you still, will I wait a lonely life time, if you want me to I will

For if I ever saw you, I didn't catch your name, but it never really mattered, I will always feel the same

Love you forever and forever, love you with all my heart, love you whenever we're together, love you when we're apart

And when at last I find you, your song will fill the air, sing it loud so I can hear you, make it easy to be near you

For the things you do endear you to me, ah you know I will, I will, Ooo, la

Julia

Lennon/McCartney

Lennon wrote this song in Paul's style as a tribute and dedication to his late mother, Julia Lennon, and to Yoko. Translated into English, Yoko means "ocean child." Half of what I say is meaningless, but I say it just to reach you, Julia,

Julia, Julia, ocean child calls me, so I sing a song of love, Julia

Julia, seashell eyes, windy smile calls me, so I sing a song of love, Julia

Her hair of floating sky is shimmering, glimmering, in the sun

Julia, Julia, morning moon, touch me, so I sing a song of love, Julia

When I cannot sing my heart, I can only speak my mind, Julia

Julia, sleeping sand, silent cloud, touch me, so I sing a song of love, Julia

(Hum) Calls me, so I sing a song of love for, Julia, Julia, Julia

 

NOTE: All lyrics contained herein are © Copyright 1965 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© 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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