I was reminded by a commenter that I needed to get back to work on this series. The next album in line is The White Album, which also happens to be my favorite Beatles album.

I’ve decided to split this double album in half to make it a bit more manageable. Disc 2 comes tomorrow.

“Back In The USSR”

McCartney: It’s tongue in cheek. This is a traveling Russkie who has just flown in from Miami Beach; he’s come the other way. He can’t wait to get back to the Georgian mountains: ‘Georgia’s always on my mind’; there’s all sorts of little jokes in it… I remember trying to sing it in my Jerry Lee Lewis voice, to get my mind set on a particular feeling. We added Beach Boys style harmonies.

McCartney: I wrote that as a kind of Beach Boys parody. And “Back in the USA” was a Chuck Berry song, so 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 of. ‘Cause they like us out there, even though the bosses in the Kremlin may not. The kids do. And that to me is very important for the future of the race.

“Dear Prudence”

Lennon: All the people around her were very worried because she was going insane. So we sang to her. They selected me and George to try and bring her out because she would trust us. She went completely mental. 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 wouldn’t come out, trying to reach God quicker than anybody else. That was the competition in Maharishi’s camp: who was going to get cosmic first.

(John is talking about Prudence Farrow who he wrote this song about.)

“Glass Onion”

Lennon: That’s me, just doing a throwaway song, a la Walrus, a la everything I’ve ever written. I threw the line in, ‘the walrus was Paul’, just to confuse everybody a bit more. It could have been ‘the fox terrier is Paul’. I mean, it’s just a bit of poetry. I was having a laugh because there’d been so much gobbledigook about Pepper – play it backwards and you stand on your head and all that.

At that time I was still in my love cloud with Yoko. I thought, ‘Well, I’ll just say something nice to Paul, that it’s all right and you did a good job over these few years, holding us together’.

Lennon: Well, that was a joke. The line was put in partly because I was feeling guilty because I was with Yoko and I was leaving Paul. I was trying – I don’t know. It’s a very 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”

McCartney: We went to a cinema show in a village where a guy put up a mobile screen and all the villagers came along and loved it. I remember walking down a little jungle path with my guitar to get to the village from the camp. I was playing ‘Desmond has a barrow in the market place…’

McCartney: I had a friend called Jimmy Scott who was a Nigerian conga player, who I used to meet in the clubs in London. He had a few expressions, one of which was, ‘Ob la di ob la da, life goes on, bra’. I used to love this expression… He sounded like a philosopher to me. He was a great guy anyway and I said to him, ‘I really like that expression and I’m thinking of using it,’ and I sent him a cheque in recognition of that fact later because even though I had written the whole song and he didn’t help me, it was his expression.

It’s a very me song, in as much as it’s a fantasy about a couple of people who don’t really exist, Desmond and Molly. I’m keen on names too. Desmond is a very Caribbean name.

Lennon: “Paul’s granny shit.”

“Wild Honey Pie”

McCartney: We were in 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 or maybe in the little room next door. It was very home-made; it wasn’t a big production at all. I just made up this short piece and I multitracked a harmony to that, and a harmony to that, and a harmony to that, and built it up sculpturally with a lot of vibrato on the strings, really pulling the strings madly. Hence, ‘Wild Honey Pie’, which was a reference to the other song I had written called Honey Pie. It was a little experimental piece.

McCartney: A fragment of an instrumental which we were not sure about, but Pattie Harrison liked it very much, so we decided to leave it on the album.

“The Continuing Story of Bungalow Bill”

Lennon: “The Continuing Story of Bungalow Bill” was written about a guy who took a short break to go shoot a few poor tigers, and then came 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.

“While My Guitar Gently Weeps”

Harrison: I wrote “While My Guitar Gently Weeps” at my mother’s house in Warrington. I was thinking about the Chinese I Ching, the Book of Changes… The Eastern concept is that whatever happens is all meant to be, and that there’s no such thing as coincidence – every little item that’s going down has a purpose.

“While My Guitar Gently Weeps” was a simple study based on that theory. I decided to write a song based on the first thing I saw upon opening any book – as it would be a relative to that moment, at that time. I picked up a book at random, opened it, saw ‘gently weeps’, then laid the book down again and started the song.

Harrison: We tried to record it, but John and Paul were so used to just cranking out their tunes that it was very difficult at times to get serious and record one of mine. It wasn’t happening. They weren’t taking it seriously and I don’t think they were even all playing on it, and so I went home that night thinking, ‘Well, that’s a shame,’ because I knew the song was pretty good.

The next day I was driving into London with Eric Clapton, and I said, ‘What are you doing today? Why don’t you come to the studio and play on this song for me?’ He said, ‘Oh, no – I can’t do that. Nobody’s ever played on a Beatles record and the others wouldn’t like it.’ I said, ‘Look, it’s my song and I’d like you to play on it.’

So he came in. I said, ‘Eric’s going to play on this one,’ and it was good because that then made everyone act better. Paul got on the piano and played a nice intro and they all took it more seriously.

“Happiness Is A Warm Gun”

Lennon: George Martin showed me the cover of a magazine that said, ‘Happiness is a warm gun’. I thought it was a fantastic, insane thing to say. A warm gun means you’ve just shot something.

Lennon: “Happiness Is A Warm Gun” was another one which was banned on the radio – they said it was about shooting up drugs. But they were advertising guns and I thought it was so crazy that I made a song out of it. It wasn’t about ‘H’ at all.

“Martha My Dear”

McCartney: When I taught myself piano I liked to see how far I could go, and this started life almost 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. In fact I remember one or two people being surprised that I’d played it because it’s slightly above my level or competence really, but I wrote it as that, something a bit more complex for me to play. Then while I was blocking out words – you just mouth out sounds and some things come – I found the words ‘Martha my dear’.

McCartney: She was a dear pet of mine. I remember John being amazed to see me being so loving to an animal. He said, ‘I’ve never seen you like that before.’ I’ve since thought, you know, he wouldn’t have. It’s only when you’re cuddling around with a dog that you’re in that mode, and she was a very cuddly dog.

(Paul is talking about his dog Martha who inspired the lyrics for “Martha My Dear.”)

McCartney: It’s a communication of some sort of affection but in a slightly abstract way – ‘You silly girl, look what you’ve done,’ all that sort of stuff. These songs grow. Whereas it would appear to anybody else to be a song to a girl called Martha, it’s actually a dog, and our relationship was platonic, believe me.

“I’m So Tired”

Lennon: “I’m So Tired” was me, in India again. I couldn’t sleep, I’m meditating all day and couldn’t sleep at night. The story is that. One of my favorite tracks. I just like the sound of it, and I sing it well.

McCartney: “I’m So Tired” is very much John’s comment to the world, and it had that very special line, ‘And curse Sir Walter Raleigh, he was such a stupid get.’ That’s a classic line and it’s so John that there’s no doubt that he wrote it. I think it’s 100 per cent John. Being tired was one of his themes; he wrote I’m Only Sleeping. I think we were all pretty tired but he chose to write about it.

“Blackbird”

McCartney: Part of its structure is a particular harmonic thing between the melody and the bass line which intrigued me. Bach was always one of our favourite composers; we felt we had a lot in common with him… I developed the melody on guitar based on the Bach piece and took it somewhere else, took it to another level, then I just fitted the words to it.

McCartney: I had in mind a black woman, rather than a bird. Those were the days of the civil rights movement, which all of us cared passionately about, so this was really a song from me to a black woman, experiencing these problems in the States: ‘Let me encourage you to keep trying, to keep your faith, there is hope.’ As is often the case with my things, a veiling took place so, rather than say ‘Black woman living in Little Rock’ and be very specific, she became a bird, became symbolic, so you could apply it to your particular problem.

“Piggies”

Harrison: “Piggies” is a social comment. I was stuck for one line in the middle until my mother came up with the lyric, ‘What they need is a damn good whacking’ which is a nice simple way of saying they need a good hiding. It needed to rhyme with ‘backing,’ ‘lacking,’ and had absolutely nothing to do with American policemen or Californian shagnasties!

“Rocky Raccoon”

McCartney: “Rocky Raccoon” is quirky, very me. 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. I just tried to keep it amusing, really; it’s me writing a play, a little one-act play giving them most of the dialogue. Rocky Raccoon is the main character, then there’s the girl whose real name was Magill, who called herself Lil, but she was known as Nancy.

McCartney: In this case Rocky Raccoon is some bloke in a raccoon hat, like Davy Crockett. The bit I liked about it was him 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. And then of course the doctor is drunk.

“Don’t Pass Me By”

Starr: I wrote “Don’t Pass Me By” when I was sitting round at home. I only play three chords on the guitar and three on the piano. I was fiddling with the piano – I just bang away – and then if a melody comes and some words, I just have to keep going. That’s how it happened: I was just sitting at home alone and “Don’t Pass Me By” arrived. We played it with a country attitude. It was great to get my first song down, one that I had written. It was a very exciting time for me and everyone was really helpful, and recording that crazy violinist was a thrilling moment.

George Martin: It was for John that I did an off-the-wall introduction, because we hadn’t a clue what to do with Ringo’s song. In the event, the intro was too bizarre for us to use, and the score was scrapped.

(Martin is talking about the introduction that was released as the first track on The Beatles Anthology 3 in 1996.)

“Why Don’t We Do It In The Road?”

Lennon: That’s Paul. He even recorded it by himself in another room. That’s how it was getting in those days. We came in and he’d made the whole record. Him drumming. Him playing the piano. Him singing. But he couldn’t – he couldn’t – maybe he couldn’t make the break from the Beatles. I don’t know what it was, you know. I enjoyed the track. Still, I can’t speak for George, but I was always hurt when Paul would knock something off without involving us. But that’s just the way it was then.

McCartney: It wasn’t a deliberate thing. John and George were tied up finishing something and me and Ringo were free, just hanging around, so I said to Ringo, ‘Let’s go and do this’…

Anyway, he did the same with “Revolution 9.” He went off and made that without me. No one ever says that. John is the nice guy and I’m the bastard. It gets repeated all the time.

McCartney: I was up on the flat roof meditating and I’d seen a troupe of monkeys walking along in the jungle and a male just hopped on to the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again, and looked around as if to say, ‘It wasn’t me,’ and she looked around as if there had been some mild disturbance but thought, Huh, I must have imagined it, and she wandered off. And I thought, bloody hell, that puts it all into a cocked hat, that’s how simple the act of procreation is, this bloody monkey just hopping on and hopping off. There is an urge, they do it, and it’s done with. And it’s that simple.

We have horrendous problems with it, and yet animals don’t. So that was basically it. “Why Don’t We Do It In The Road?” could have applied to either fucking or shitting, to put it roughly. Why don’t we do either of them in the road? Well, the answer is we’re civilized and we don’t. But the song was just to pose that question. “Why Don’t We Do It In The Road?” was a primitive statement to do with sex or to do with freedom really. I like it, it’d just so outrageous that I like it.

Starr: “Why Don’t We Do It In The Road?” was just Paul and me, and it went out as a Beatle track too. We had no problems with that.

“I Will”

McCartney: I was doing a song, “I Will,” that I had as a melody for quite a long time but I didn’t have any lyrics to it. I remember sitting around with Donovan, and maybe a couple of other people. We were just sitting around one evening after our day of meditation and I played him this one and he liked it and we were trying to write some words. We kicked around a few lyrics, something about the moon, but they weren’t very satisfactory and I thought the melody was better than the words so I didn’t use them.

I kept searching for better words and I wrote my own set in the end; very simple words, straight love-song words really. I think they’re quite effective. It’s still one of my favourite melodies that I’ve written. You just occasionally get lucky with a melody and it becomes rather complete and I think this is one of them; quite a complete tune.

“Julia”

Lennon: Julia was my mother. But it was sort of a combination of Yoko and my mother blended into one.

Become A MusicByDay.com Music Blogger.