|A HARD DAY'S NIGHT
RINGO 1964: "We went to do a job, and we'd worked all day
and we happened to work all night. I came up still thinking it
was day I suppose, and I said, 'It's been a hard day...' and I
looked around and saw it was dark so I said, '...night!' So we
came to 'A Hard Day's Night.'"
JOHN 1980: "I was going home in the car and Dick Lester
suggested the title, 'Hard Day's Night' from something Ringo had
said. I had used it in 'In His Own Write,' but it was an
off-the-cuff remark by Ringo. You know, one of those
malapropisms. A Ringo-ism, where he said it not to be funny...
just said it. So Dick Lester said, 'We are going to use that
title.' And the next morning I brought in the song... 'cuz there
was a little competition between Paul and I as to who got the
A-side-- who got the hits. If you notice, in the early days the
majority of singles, in the movies and everything, were mine...
in the early period I'm dominating the group. The only reason he
sang on 'A Hard Day's Night' was because I couldn't reach the
notes. (sings) 'When I'm home/ everything seems to be right/
when I'm home...' --which is what we'd do sometimes. One of us
couldn't reach a note but he wanted a different sound, so he'd
get the other to do the harmony."
PAUL circa-1994: "The title was Ringo's. We'd almost
finished making the film, and this fun bit arrived that we'd not
known about before, which was naming the film. So we were
sitting around at Twickenham studios having a little
brain-storming session... and we said, 'Well, there was
something Ringo said the other day.' Ringo would do these little
malapropisms, he would say things slightly wrong, like people
do, but his were always wonderful, very lyrical... they were
sort of magic even though he was just getting it wrong. And he
said after a concert, 'Phew, it's been a hard day's night.'"
I SHOULD HAVE KNOWN BETTER
JOHN 1980: "That's me. Just a song-- It doesn't mean a
IF I FELL(Lennon/McCartney)
JOHN 1980: "That was my first attempt at a ballad
proper. That was the precursor to 'In My Life.' It has the same
chord sequences as 'In My Life' --D and B minor and E minor,
those kinds of things. And it's semi-autobiographical, but not
consciously. It shows that I wrote sentimental love ballads--
silly love songs-- way back when."
PAUL 1984: "This was our close-harmony period. We did a
few songs... 'This Boy,' 'If I Fell,' 'Yes It Is' ...in the same
vein, which were kind of like the Fourmost-- an English vocal
group, only not really."
I'M HAPPY JUST TO DANCE WITH YOU
JOHN 1980: "'I'm Happy Just To Dance With You,' that
was written for George to give him a piece of the action. I
couldn'ta sung it."
PAUL circa-1994: "We wrote 'I'm Happy Just To Dance With
You' for George in the film. It was a bit of a formula song. We
knew that in (the key of) E if you went to an A-flat-minor, you
could always make a song with those chords... that change pretty
much always excited you."
AND I LOVE HER(Lennon/McCartney)
JOHN 1972: "Both of us wrote it. The first half was
Paul's and the middle-eight is mine."
JOHN 1980: "'And I Love Her' is Paul again. I consider it
his first 'Yesterday.' You know, the big ballad in 'A Hard Day's
PAUL 1984: "It's just a love song. It wasn't for anyone.
Having the title start in midsentence, I thought that was
clever. Well, Perry Como did 'And I Love You So' many years
later. Tried to nick the idea. I like that... it was a nice
tune, that one. I still like it."
TELL ME WHY(Lennon/McCartney)
JOHN 1980: "'Tell Me Why...' they needed another
upbeat song and I just knocked it off. It was like a black, New
York girl-group song."
PAUL circa-1994: "I think alot of these songs like 'Tell
Me Why' were based in real life experiences... but it never
occured to us until later to put that slant on it all."
CAN'T BUY ME LOVE(Lennon/McCartney)
JOHN 1972: "John and Paul, but mainly Paul."
JOHN 1980: "That's Paul completely. Maybe I had something
to do with the chorus, but I don't know. I always considered it
PAUL 1984: "We recorded it in France, as I recall.
Went over to the Odeon in Paris. Recorded it over there. Felt
proud because Ella Fitzgerald recorded it, too, though we didn't
realize what it meant that she was doing it."
PAUL circa-1994: "'Can't Buy Me Love' is my attempt to
write a bluesy mode. The idea behind it was that all these
material possessions are all very well but they won't buy me
what I really want."
ANY TIME AT ALL(Lennon/McCartney)
JOHN 1980: "An effort at writing 'It Won't Be Long'
--same ilk. C to A minor, C to A minor with me shouting."
I'LL CRY INSTEAD(Lennon/McCartney)
JOHN 1980: "I wrote that for 'A Hard Day's Night,' but
Dick Lester didn't even want it. He resurrected 'Can't Buy Me
Love' for that sequence instead. I like the middle-eight to that
song, though that's about all I can say about it."
THINGS WE SAID TODAY(Lennon/McCartney)
JOHN 1980: "Paul's. Good song."
PAUL circa-1994: "I wrote 'Things We Said Today' on
acoustic (guitar). It was a slightly nostalgic thing already, a
future nostalgia: we'll remember the things we said today,
sometime in the future, so the song projects itself into the
future and then is nostalgic about the moment we're living now,
which is quite a good trick."
WHEN I GET HOME(Lennon/McCartney)
JOHN 1980: "That's me again... another Wilson Pickett,
Motown sound... a four-in-the-bar cowbell song."
YOU CAN'T DO THAT(Lennon/McCartney)
JOHN 1964: "I'd find it a drag to play rhythm all the
time, so I always work myself out something interesting to play.
The best example I can think of is like I did on 'You Can't Do
That.' There really isn't a lead guitarist and a rhythm
guitarist on that, because I feel the rhythm guitarist role
sounds too thin for records. Anyway it drove me potty to play
chunk-chunk rhythm all the time. I never play anything as lead
guitarist that George couldn't do better. But I like playing
lead sometimes, so I do it."
JOHN 1980: "That's me doing Wilson Pickett. You know, a
cowbell going four-in-the bar, and the chord going 'chatoong!'"
I'LL BE BACK(Lennon/McCartney)
JOHN 1972: "A nice tune, though the middle is a bit
JOHN 1980: "'I'll Be Back' is me completely. My variation
of the chords in a Del Shannon song."
PAUL circa-1994: "'I'll Be Back' was co-written, but it
was largely John's idea."
ON SONGWRITING (DURING THE 'HARD DAY'S NIGHT' PERIOD)
PAUL 1964: "Sometimes maybe he (John) will write a
whole song himself, or I will, but we always say that we've both
written it. Sometimes the lyric does come first, sometimes the
tune-- sometimes both together. Sometimes he'll do one line,
sometimes I'll do one line. It's very varied."
JOHN 1964: "Paul and I enjoyed writing the music for the
film, but there were times when we honestly thought we'd never
get time to write all the material. We managed to get a couple
finished while we were in Paris, and three more completed in
America soaking up sun on Miami Beach."
PAUL 1996: "Most of the songs that John and I wrote
together were kinda pulled out of thin air. That was the thing
about John and me that I still marvel at... because we had been
16 year olds together. He'd come over to my house and we'd smoke
Ty-Phoo tea in my dad's pipe. And because we'd done all that, by
the time we got around to 'A Hard Day's Night,' we sort of
expected that we sat down together to write a song and have a
little bit of fun-- simply because we were used to doing it.
That was how we did what we did."
ON RECORDING (DURING THE 'HARD DAY'S NIGHT' PERIOD)
PAUL circa-1994: "Normally John and I would go in the
studio, sit down with the guys and say, 'Right, what are we
going to do?' I'd say to John, 'Do you want to do that one of
yours or shall we do this one of mine? Which shall we play 'em
first?' We'd show it to the band over the course of twenty
minutes, possibly half an hour. Ringo would stand around with a
pair of drumsticks which he might tap on a seat or a packng
case. John and I would sit with our two guitars. George would
bring his guitar and see what chords we were doing and figure
out what he could do. George Martin would sit down with us and
then we would separate, go to each instrument and come out ready
to fight. And within the next hour we would have done it-- we
would have decided how we were going to play the song. If for
some reason it needed to be mixed quickly we would go upstairs
to the control room, but we often left it up to them and just
went home. But as things went on, we might go up to the control
room more often."