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We sagged off school and wrote it on guitars. I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key. It gave you the subject matter, alot of information, and then you had to fill in.

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So it was co-written It may not have been that successful for her because it's rather a downbeat song And in the end Kenny Lynch did it. Kenny used to come out on tour with us, and he used to sing it. That was one of his minor hits.

We were getting tired though, and just couldn't seem to get it right. In the following weeks we went over it again and again. We changed the tempo a little, we altered the words slightly, and we went over the idea hotep featuring the harmonica just as we'd done on 'Love Mesa sc personals Do.

It was my attempt at writing a Roy Orbison song, would you believe it? I wrote it in the bedroom in my house at Menlove Avenue, which was my auntie's place. That's where that came from. I was always intrigued by the double use of the word 'please. I ll get the hotel you come hang out

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George Martin up-tempo'd it. He thought it was too much of a dirge, and probably too like Orbison. So he cleverly speeded us up And everybody thought it was a 'fiddle' because our manager's stores send in these And everybody down south thought, 'Aha!

He's just fiddling the charts. I Sandston naughty hookup I had something thw do with the middle.

That first piece of plastic. You can't believe how great that was. It was so wonderful. Gett were on a record! He had the song around in Hamburg even, way, way before we were songwriters. At the Cavern we clicked.

It gave us somewhere to go.

I was very nervous, I remember. John was supposed to sing the lead, but they changed their minds and asked me to sing lead at the last minute, because they wanted John to play harmonica. Until then, we hadn't rehearsed with a harmonica; George Martin started arranging it on the spot.

It was very nerve-wracking. It came out whiter because it always does. We're white, and we were just young Liverpool musicians.

I ll get the hotel you come hang out

We didn't have the finesse to be able to actually sound black. But 'Love Me Do' was probably the first bluesy thing we tried to do. It would be rather nice. Couldn't think of tye sort of bluesy thing, could you John? I actually had one too but he'd been clever-- he learned to play it.

John expected to be in jail one day and he'd be the guy who played the harmonica. The lyric crossed over the harmonica solo, so I suddenly got thrown the big open line, 'Love me do,' where everything stopped.

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Until that session John had always done it. I didn't even know how to sing it I can still hear the nervousness in my voice. He was trying to write a 'Soldier Boy' like the Shirelles. He wrote that in Germany, or when we were going outt and from Hamburg.

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I might have contributed something. I can't remember anything in particular. It was mainly his song. It was pretty much mine.

I don't think John had much of a hand in it. There are certain themes that are easier than others to hang a song on, and a letter is one of them It's not based in reality, nor did I write it to my I ll get the hotel you come hang out from Hamburg, which some people think. My mother was always Not professional, but she used to get up in pubs and things like that.

She had a good voice. She could do Kay Starr.

She used to do this little tune when I was one or two years old The tune was from a Disney movie: Promise not to tell? You are standing by a wishing well.

I thought it would be a good vehicle for him, because it had only three notes and he wasn't the best singer in the world. He has improved a lot since then; but in those days, his ability was very poor. Before he wrote his own stuff, John and I wrote ot for him and Ringo to do.

I didn't like the vocal on it. I Massage needed tonight know how to sing. It says the usual Lennon things: It doesn't seem right, you know. I feel sort of embarrassed It makes me curl up. I always feel they could do the song much I ll get the hotel you come hang out than gou.

They sort of said shake-your-arse, or your prick, which was an innovation really. The blacks were singing directly and immediately about their pain, and also about sex, which is why I like it. My voice wasn't the same for a long time after-- everytime I swallowed it was like sandpaper.

I was always bitterly ashamed of it because I could sing it better than that, but now jotel doesn't bother me.

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You can hear I'm just a frantic guy doing his best. And I know exactly why-- It's because he worked his bollocks off that day. We left 'Twist And Shout' until the very last thing because we knew there was one take. And so, we're not writing the tunes in any particular idiom.

In five years time, we may arrange the tunes differently.

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I mean, I know it was mine. We were just writing the next single.

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It was far bluesier than that when we wrote I ll get the hotel you come hang out. It went to a surprising place. The opening chord of the middle section of that song heralded a new batch for me. That was a pivotal song. Girls looking for men Ajaccio songwriting lifted yuo little with that song. It was very much co-written. So it became a B-side or an album track. So alot of our songs were directly addressed to the fans.

We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel. I originally got an hohel of doing one of those answering songs, where a couple of us sing about 'she loves you' You know, 'yeah yeah' answering whoever is saying it.

gotel But we decided that was a crummy idea anyway. But we had the idea to write a song called 'She Loves You' then. And we just sat up in the hotel bedroom for a few hours and wrote it, you know.

We get a basic idea, because you write a song and you get a sound in your head that you think it's gonna sound like. And it usually turns out different, you know.