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How to Never Run out of Things to Say - Keep a Conversation Flowing!
And I played the line on the guitar and Paul laid that with me on the bass. We laid that track down like that. We played the lead part later on top of it. The lyrics I brought in were something to do with golden rings, which are always fatal to songwriting. I came in and I said, 'These aren't good lyrics but it's a good tune. We can do it, we can do it. But Paul helped me on the lyric. It was about an affair I was having. I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household. I'd always had some kind of affairs going on, so I was trying to be sophisticated in writing about an affair But I can't remember any specific woman it had to do with. It was percent me, but I am always happy to give John a credit because there's always a chance that on the session he might have said, 'That'd be better. Then 'Nowhere Man' came, words and music So letting it go is what the whole game is. You put your finger on it, it slips away, right? You know, you turn the lights on and the cockroaches run away. You can never grasp them. I think at that point in his life, he was a bit wondering where he was going. The engineer said, 'Alright, I'll put full treble on it,' and we said, 'That's not enough. And if that's not enough we'll go through another lot of faders. I think they were quietly proud of those things. You read the words, it's all about gettin' smart. It's the marijuana period. It's a love and peace thing. The word is 'love,' right? We normally didn't smoke when we were working. And he just sort of had a bit of a verse, and a couple of words, and the idea. I think he had some other name or something. He used to talk Double-Dutch French, you see, just to sing the bit. We pinched a little bit from somewhere and stuck it in the middle-eight, and off we went. I wrote the middle with him. That's all it was. And then after a while you say, 'Well, that's quite a good tune. Let's put some real words to it. Otherwise, 'Michelle' is a straight ballad, right? He provided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes. It really turned the song around. You could do that with bass. It was very exciting. Ringo and Paul wrote a new middle-eight together when we recorded it. And resurrected with a middle-eight thrown in, probably with Paul's help, to give Ringo a song I remember writing 'the pain and pleasure,' and 'a man must break his back. It was amusing to see if we could get a naughty word on the record. The Beach Boys had a song out where they'd done 'la la la la' and we loved the innocence of that and wanted to copy it but not use the same phrase. So we were looking around for another phrase-- 'dit dit dit dit,' which we decided to change it in our waggishness to 'tit tit tit tit. It was good to get some light relief in the middle of this real big career that we were forging. If we could put in something that was a little bit subversive then we would. George Martin would say, 'Was that dit-dit or tit-tit you were singing? He must have had an argument with Jane Asher. I would write it out in a song and then I've got rid of the emotion. I don't hold grudges so that gets rid of that little bit of emotional baggage I think it's my song totally. I don't remember any of John's assistance. The words were almost irrelevant. I wrote it all down and it was ridiculous But then I laid back and these lyrics started coming to me about the places I remember. Paul helped with the middle-eight. It was, I think, my first real major piece of work. Up till then it had all been sort of glib and throw-away. And that was the first time I consciously put my literary part of myself into the lyric. John either forgot or didn't think I wrote the tune. I remember he had the words, like a poem I recall going off for half an hour and sitting with a Mellotron he had, writing the tune In fact, a lot of stuff was then. If you move your finger about you get various little melodies. That guitar line, or variations on it, is found in many a song, and it amazes me that people still find new permutations of the same notes. Just sort of a throw-away song of mine that I never thought much of I had the basic idea, the title, had a couple of verses The lyrics might have been personal. It is often a good way to talk to someone or to work your thoughts out. It saves you going to a psychiatrist, you allow yourself to say what you might not say in person. But I think Paul helped with the verse. Including the guitar lick, the guitar break, and the whole bit. It's just a rock 'n roll song. Day trippers are people who go on a day trip, right? Usually on a ferry boat or somethng. But it was kind of-- you know, you're just a weekend hippie. But this was just a tongue-in-cheek song about someone who was a day tripper, a sunday painter, a sunday driver, somebody who was committed only in part to the idea. Where we saw ourselves as full-time trippers, fully committed drivers, she was just a day tripper. That was a co-written effort-- we were both making it all up but I would give John the main credit. It depends, whatever instrument I'm on, I write with. I think it was 'Rubber Soul' when we did all our own numbers. We controlled it a bit. Whatever it was we were putting over, we just tried to control it a bit. Finally we took over the studio. In the early days we had to take what we were given-- we didn't know how you can get more bass. We were learning the technique on 'Rubber Soul. And we took over the cover and everything. Each album had something good about it and progressed. As we got more power they started to let us sit there during a mix. Then you'd say, 'I don't want to interfere, Geoff Emerick , but push my guitar up!
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