Ringo's Dedication to George

Recently released, Ringo Starr has written (with a little help from his friends)

a wonderful song dedicated to the memory of his dear friend and fellow Beatle, George Harrison.

It can be found on Ringo's new CD titled Ringo Rama:

 

 

Never Without You

We were young

It was fun

And we couldn't lose

Times were right

Overnight, we were headline news

Crazy days and reckless nights

Limousines and bright spotlights

We were brothers through it all

 

And your song, will play on

Without you

And this world won't forget, about you

Every part of you was in your song

Now we will carry on

Never without you (never without you)

Within You, Without You

(Here Comes The Sun is about you)

Because this song is about you

Here today, not alone, with my memories

Life was strange, how things change, it's reality

You played a beautiful melody

That keeps on haunting me

I can always feel you by my side

 

And your song (your song)

will play on (play on)

Without you (without you)

And this world (this world) won't forget, (forget) about you (about you)

Every part of you was in your song

Now we will carry on

Never without you (never without you)

Within You, Without You

(Here Comes The Sun is about you)

Because this song is about you

I Know All Things Must Pass

And only love will last

I'll always love the memory, of you and me

(take it away Eric)

And your song (your song)

Will play on (play on)

Without you (without you)

And this world (this world) won't forget, (forget) about you (about you)

Every part of you was in your song (your song)

Now we will carry on

Never without you (never without you)

Within You, Without You (within you, without you)

Never without you (never without you)

Within You, Without You (within you, without you)

We're never without you (never without you)

We're never without you (never without you)

Within You, Without You (within you, without you)

I think love is about you 

 

 George's song to John, '82:

 

 

All Those Years Ago

I'm shouting all about love
While they treated you like a dog
When you were the one who had made it so clear
All those years ago

I'm talking all about how to give
They don't act with much honesty
But you point the way to the truth when you say
"All you need is love"

Living with good and bad
I always looked up to you
Now we're left cold and sad
By someone, the devil's best friend
Someone who offended all

We're living in a bad dream
They've forgotten all about mankind
And you were the one they backed up to the wall
All those years ago
You were the one who imagined it all
All those years ago..

(All those years ago)

(All those years ago)

Deep in the darkest night
I send out a prayer to you
Now in the world of light
Where the spirit free of lies
And all else that we despised

They've forgotten all about God
He's the only reason we exist
Yet you were the one that they said was so weird
All those years ago
You said it all though not many had ears
All those years ago
You had control of our smiles and our tears
All those years ago..

 

 

 

The first few seasons of Johnny Carson's 'Tonight Show' no longer exist

in the NBC vaults. Many videotapes were 'reused' by NBC in those days,

including Carson's earliest seasons. Therefore the 1968

Lennon/McCartney appearance is truely

A LOST

INTERVIEW

 

 

JG: "Ladies and gentlemen, from the Beatles-- John Lennon and Paul McCartney!"

(excited screams and applause as they walk out)

JG: "Good evening, good evening. Can I ask you something? How did you get here?

Not from England, but from the hotel with all the people out there?"

JOHN: "Uhh, car."

JG: "Car. Did you have any problems?"

JOHN: "No, no. All under control. (jokingly) Well how are you, Johnny?"

JG: "Well, I figure you've been interviewed all day-- if there's

any questions you'd like to ask us..."

JOHN: "What are you doing?"

(laughter)

PAUL: "Mmm, where's Johnny?"

JG: "Where is he? Gatorsburg!"

ED McMAHON: "Gatorsburg!"

JG: "A wonderful town."

TB: "May I ask you, a big favorite all over the world, a question? Are the other

two gentlemen... of the four of you... are they still in India?"

JOHN: "No, they're in England."

TB: "I want to ask you something, because I wish I'd learned to meditate, and I can't...

I don't know how you do it. I would love to."

JOHN: "Well you gotta go and find out, haven't you."

TB: "Well I'm not going that far."

JOHN: "Oh well."

(laughter)

PAUL: "Forget it."

TB: "If it's taken me this long, and couldn't do it, I couldn't

learn there."

JOHN: "Well, you can't learn to swim if you keep inland, can you? Unless

you've got a pool around you."

TB: "Oh honey, I can float sitting up. Don't be silly."

(laughter)

JG: "I get the feeling there are two different conversations here!"

PAUL: "Yeah right, yeah. We had a bit of trouble today-- this fella-- We did an

interview for the educational program. And he started asking us questions, and they were

quite sort of serious questions, you know. So it was a choice between just

laughing it up, or answering seriously."

JG: "So what did you do?"

PAUL: "We were a bit serious."

JG: (jokingly) "You? Serious?"

PAUL: "Yeah. We were just sort of-- (clears throat comically) --not too

serious, you know, just sort of."

JG: "Listen, of all the..."

PAUL: "So tell us a joke!"

(laughter)

JG: "I don't really have that many jokes, you tell me a joke."

JOHN: "We don't know any."

TB: "I think they're very serious fellows."

PAUL: "That's it. We are, you know."

JOHN: "We can never remember 'em, you see."

JG: "Would you like to be a comedian?"

JOHN: "No."

JG: "In many ways you are."

JOHN: "Well..."

(laughter)

JG: "The four of you, socially, are you that close, or are you...?"

PAUL: "Yeah."

JOHN: "We're close friends, you know."

JG: "Sometimes when you work together-- I've been with groups that when the

job's over, that's it. Do you have houses pretty much together?"

JOHN: "Within twenty miles all together."

JG: "If you couldn't have been in music-- if it hadn't happened for you-- what

do you think you would like to do?"

JOHN: "Ahh, I don't know. Films for me."

(Paul relaxes back comfortably)

JG: (pause) "How about you, Paul... I'm not breaking your mood, am I?"

PAUL: "No. You're doing great, you know. But, umm..."

(laughter)

PAUL: "So, what would I like to have been?"

JOHN: "A policeman."

PAUL: (to John) "...no. Not a policeman."

(laughter)

PAUL: "Uhh, I don't know, you know. I was nearly gonna be a teacher

but that fell through, luckily."

(music swells for a commercial break... Paul begins humming

along... girls scream)

JG: (to John) "Why don't you read that (cue card) and see what the reaction is."

JOHN: "And now a word from your local stallion."

(laughter)

JG: "...a word from your local STATION!"

--(commercial break)--

 

JG: "Listen. Paul, you said something that's hard for me to believe. You

were in Central Park, and no one recognized you, Sunday?"

PAUL: "Yes, that's true. Yes."

JOHN: "We were very pleased, you know."

JG: "You just kinda wandered around? You just walked around? The

police weren't with you?"

JOHN: "No, we just walked out, you know. We often do it. If people don't

know-- expect us, what are they gonna do but see a bit of long hair walking

around like all the other long hair."

(laughter)

JG: "How long have you been in New York now? We just found out about it."

PAUL: "Three days."

JOHN: "Is it three, now?"

PAUL: "Three days."

JOHN: "And we still haven't got a tan."

PAUL: "And it's been enough, you know, actually." (laughs)

JG: "When you get into a city-- You were on tour, and you got to alot of cities. How

much of it do you really see? It's ballpark to a hotel, I think."

JOHN: "You just pick up the vibrations. We never saw it, you know."

PAUL: "The room."

JOHN: "A castle full of rooms all over the place."

JG: "How about this new organization, 'Apple'?"

JOHN: "Oh yeah. Well you see, our accountant came up and said, 'We got

this amount of money. Do you want to give it to the government

or do something with it?' So we thought..."

JG: "Which government?"

JOHN: "Oh... Any old government."

(laughter)

JOHN: "So we decided to play businessmen for a bit, because, uhh, we've

got to run our own affairs now. So, we've got this thing called 'Apple'

which is going to be records, films, and electronics-- which all tie-up. And to make a sort

of an umbrella so people who want to make films about... grass... don't have to

go on their knees in an office, you know, begging for a break. We'll try and

do it like that. That's the idea. I mean, we'll find out what happens,

but that's what we're trying to do."

PAUL: "If you want to do something, normally you've got to go to big

business and you've gotta go to 'them,' the big people, you know."

JOHN: "You don't even get there. Because you can't get through the

door 'cuz of the color of your shoes."

PAUL: (laughs) "But you know, people are normally... Big companies are so

big that if you're little and good it takes you like 60 years to make it. And so people

miss out on these little good people."

JOHN: "It just takes 'em longer."

PAUL: "So we're trying to find a few."

JG: "Paul, is that because of your background? You came from a poor background."

JOHN: "No, it's no sort of... it's just a common thing."

PAUL: "There's a little bit of that."

JG: "If you didn't feel it as a youngster, you wouldn't feel it now."

JOHN: "Yeah."

PAUL: "Yeah that's right, you know. It's just 'cuz, we know what we

had to fight to, sort of..."

JG: "Was it tough for you to get started?"

JOHN: "Well, no tougher than anybody else, you see, but George said, 'I'm sick

of being told to keep out of the park.' That's what it's about, you know. We're

trying to make a park for people to come in and do what they want."

PAUL: (comical voice) "Symbolically speaking."

(laughter)

JG: "Is he the spokesman, would you say, John?"

JOHN: "Well, if his spokes are working, he is. And if mine are..."

(laughter)

JG: "Do you have the privacy that you're leading me to believe

you have, or is it a tough job?"

JOHN: "We have enough to keep us sane, you know. If we are sane-- we have enough."

(laughter)

JOHN: "But it's not like touring. Our life isn't like a tour, or like 'A Hard Day's Night' or

any of those things. That's only what we're doing now. We create that, or that is created.

But when we're just living, it's calm."

JG: "Is it calm, Paul?"

PAUL: "Yeah. Not at the moment, you know. It's hectic-- New York. Very hectic place. 'Cuz we

came over from England and it's a very sort of quiet place, you know."

JG: "What's so different about New York?"

JOHN: "Louder."

PAUL: "It's very... (imitates cars honking and police sirens) ...you know."

(laughter)

JG: (jokingly) "You've got a hit record on your hands already!"

PAUL: "You know, that happens alot here."

JG: "Don't you like that kind of life?"

JOHN: "It's alright. You get into it. I mean, three days isn't enough

to get used to that."

JG: "Would you 'like' to get into it?"

JOHN: "Ahh, not today."

TB: (laughs) "Are you nervous on a show like this?"

PAUL: "Always nervous."

JOHN: "Yeah, sure. Sure."

JG: "Why would you be nervous?"

JOHN: "Because, uhh... It's not natural."

(laughter)

JG: "I don't know, I'm just kind of visiting with you... I would feel it's natural. I feel like

I've read about you and I want to meet you."

JOHN: "I mean, this 'situation' isn't natural."

PAUL: "If we meet you and talk at your house, then that's alright you know, because

we can actually talk naturally. It's a bit difficult when you know you're going

out into a million homes."

JG: "So you're guarded, pretty well, in what you say then?"

JOHN: "No, not guarded."

PAUL: "No, but it's still difficult, you know. (gesturing to the camera crew) There

it is!! Look!! It's going out!!!"

(laughter)

JOHN: "Well, aren't you nervous at all?"

JG: "I am nervous because of the... uhh..."

JOHN: (comically) "Well, because-- because-- because!!! But it's the same thing!"

(laughter)

JG: "Except that you are very successful in what you do."

JOHN: "It doesn't make any difference."

JG: "So what you're telling me is that you have fears and anxieties like

everybody else?"

JOHN: "Sure! We're human, man!"

PAUL: "You know that old showbiz thing everybody says, 'Well, you know, you always get

nervous before you go on the stage.' Uhh, I think we get 'em all the way. When you go

on stage it's just one of those things."

JG: "But you get over that alright."

JOHN: "Oh sure. It's part of the game."

 

--(commercial break)--  

 

 

JG: "Listen now, I have something in common with both of you. I met the guru, the

Maharishi. And I noticed that he went out with an act-- the Beach Boys. And it folded."

JOHN: "Yeah. Right."

JG: "What do you think of the Yogi as an act?"

JOHN: "Yeah. Well, we found out that we made a mistake there."

PAUL: "We tried to persuade him against that, you

know. I thought it was a terrible idea."

JOHN: "We believe in meditation, but not the Maharishi and his scene. But that's

a personal mistake we made in public."

JG: "When did you find out it was a mistake?"

JOHN: "Well, uhh, I can't remember the date, you know, but it was in India. And

meditation is good, and it does what they say. It's like exercise or cleaning your

teeth, you know. It works, but uhh, we've finished with that bit."

ED McMAHON: "Has he changed? Is that what..."

JOHN: "Well, no. I think it's just that we're seeing him a bit more in

perspective, you know, 'cuz we're as naive as the next person about alot of things."

PAUL: "We get carried away with things like that, though. I mean, we thought he was...

uhh... magic, you know-- just floating around and everything. Flying."

JG: "Do you think the kids in America have turned him off?"

JOHN: "Well, it could be something to do with it. But I wouldn't say, 'Don't

meditate' to them, because alot of them would get a great deal from it."

PAUL: "You know, the system is more important than all those things."

JOHN: "He's surrounded with, it seems like, the old establishment that we

know so well."

JG: "Are you saying, 'Meditate, but not with the Yogi'?"

PAUL: (long pause) "Yeah. I mean, he's good. There's nothing wrong with

him. But we think the system is more important than all the two-bit personality bit. You

know, he gets sort of treated like a big star. He's on the road with the Beach Boys, and

it's all that scene. And also... It folds, you know. That's the silly thing."

(laughter)

TB: "Does he giggle as much as..."

JOHN: "Yes. It's his natural asset."

(laughter)

JOHN: "Well, you see, it depends on what way you're looking at it at the time. If

it's not getting on your nerves, it's 'Oh, what a happy fellow.' It depends

how you feel when you look at him."

JG: "I had him on the show, and he just giggled and giggled the whole time. I figured

there was something, maybe my tie was loose. Who was the first one that met the Yogi?"

JOHN: "We all met him at the same time."

JG: "Can you tell us the circumstances?"

JOHN: "Well, he was just doing a lecture in London at the Hilton. So we all went

and we thought, 'What a nice man.' And we were looking for that. You

know, everybody's looking for it, but we were looking for it 'that day' as well.

And then we met him and he was good, you know. He's got a good

thing in him. And we went along with it."

JG: "But now, you just got off the train, huh?"

JOHN: "Right. Nice trip thank you very much."

(laughter)

JG: "Do you think that your own careers have kind of switched? Not that

you lose a group, but you seem to be changing your audience."

JOHN: "See, everything changes. So we change as well. And our audience

changes, too, all the time. We don't sort of put our finger on 'What age group

or why.' But we know-- everything changes, and us too."

PAUL: "When we first started we had leather jackets on, you know. Little

caps and big cowboy boots. But then we changed to suits, you know."

JOHN: "We thought, 'That'll get 'em.'"

(laughter)

PAUL: "And we lost a whole lot of fans. They all said, 'You've gone

ponched.' They didn't like it, you know, because we were all clean."

(laughter)

PAUL: "So we lost that crowd, but we gained all the ones that

liked suits. It happens like that. That's what keeps happening. And we lost alot of

people with 'Sgt Pepper,' but I think we gained more."

(crowd applauds in agreement)

JG: "Do you think you're going to be able to top 'Sgt. Pepper'?"

JOHN: "Well, you know, it's the next move, and I can't say 'yes or no,' but I think so.

Why not? 'Cuz it's only another LP really... it's not that important."

JG: "Well, you have to be the most imitated group."

JOHN: "Well maybe. Yeah."

(laughter)

JG: "When you talk about Lennon/McCartney songs, do you

work together, or one writes one, or..."

JOHN: "It's all those combinations you can think of. Every combination of two people

writing a song... inasmuch as we can both write them completely separately, and together,

and not together. But we obviously influence each other,

like groups and people do."

JG: "I can think of my favorite-- 'Yesterday.'"

(crowd applauds)

JG: "What are the circumstances behind that, Paul? How does that happen?"

PAUL: "I don't know. I woke up one morning..."

JOHN: (singing as blues) "'I Woke Up One Morning...'"

(laughter)

PAUL: (pauses, then continues, rhythmically) "'Piano By My Bed...'"

JOHN: (sings blues lick) "'duh-dut duh dut-a-la-dut!'"

(laughter)

PAUL: "'Went To The Piano...'"

JOHN: "Yeah?"

PAUL: (rhythmically) "And This- Is What- I Said!'"

(laughter)

PAUL: "You know, I just started playing it and this tune came. 'Cuz that's

what happens. They just, sort of-- they COME, you know. It just came and I

couldn't think of any words to it, so originally it was just, 'Scrambled Egg.' It was called

'Scrambled Egg' for a couple of months..."

(laughter)

PAUL: "...until I thought of 'Yesterday.' And that's it."

JG: (pause) "Are you putting me on?"

PAUL: "No, that's true."

JG: "'Scrambled Eggs'? You write a song about scrambled eggs?"

PAUL: "True story."

JOHN: "'Scrambled Egg' was over here as an instrumental first."

PAUL: "That's true, you know."

JOHN: "Didn't do so well with that title, you know."

(laughter)

JG: "How long are you gonna stay here?"

JOHN: "Uhh, It could be any minute now."

(laughter)

JG: "I know we've probably kept you out here longer than we

should have, but I'm going to take a..."

(members of audience groan, realizing the interview is almost over)

JG: "I have a reverse question I'm going to ask you, and feel free not to answer it.

What is the one question that bugs you the most. About your hair?"

JOHN: "No. We're past being bugged by questions, unless they're very personal. I mean,

you just get normal human reactions to a question. You know, but there used to

be one about, 'What are you going to do when the bubble bursts?' and we thought we'd have hysterics because somebody always asked it."

JG: "Let's go down the list of the questions. What are you going to do when

the bubble bursts?"

JOHN: "I haven't a clue, you know. I'm still looking for the bubble."

(laughter)

JG: (to Paul) "I've heard you on interviews, you have fun with reporters! You stay

right with him."

PAUL: "No, no. I'm serious. Serious."

JG: "You are? I think you're the kind of a guy that would say, 'Here's a match--

I wonder how much gas is in the tank.' Would you be that kind of a guy?"

PAUL: "Yeah, sure."

(laughter)

JG: "Paul, John, I know that you've got a busy, busy schedule."

(groans from the audience)

JOHN: (comically, to the crowd) "That's the way it goes, folks!"

(laughter)

JG: "We have to say goodbye. Does that make you sad to have to leave me, John?"

JOHN: "All goodbyes are sad aren't they, Joe."

JG: "Why don't you write a song. Call it, 'Say Goodbye To Joe.'"

JOHN: "'Goodbye Joe. See You In The Morning.' ...oh, that's some other line."

(laughter)

JG: "Paul, you got any ideas?"

PAUL: "Uhh... no... Joe..."

(laughter)

PAUL: "Ok, umm... No, I can't think of a song."

JG: "When you get home and you start to write 'Scrambled

Eggs Number Two' will you think about me?"

PAUL: "OK."

JOHN: "And I'll join you somehow."

JG: "Thank you very much."

(applause and screams)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

    

 

 

 

 

 

   

 

     

 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

Love, love, love, love, love, love, love, love, love.

There's nothing you can do that can't be done.

Nothing you can sing that can't be sung.

Nothing you can say but you can learn how to play the game

It's easy.

There's nothing you can make that can't be made.

No one you can save that can't be saved.

Nothing you can do but you can learn how to be in time

It's easy.

All you need is love, all you need is love,

All you need is love, love, love is all you need.

Love, love, love, love, love, love, love, love, love.

All you need is love, all you need is love,

All you need is love, love, love is all you need.

There's nothing you can know that isn't known.

Nothing you can see that isn't shown.

Nowhere you can be that isn't where you're meant to be.

It's easy.

All you need is love, all you need is love,

All you need is love, love, love is all you need.

All you need is love (all together now)

All you need is love (everybody)

All you need is love, love, love is all you need.

  

 

 

 

 

 

 

 

 

 

 

 HERE COMES THE SUN

 

Here comes the sun, here comes the sun
And I say it's all right
Little darlin' it's been a long cold lonely winter
Little darlin' it feels like years since it's been here
Here comes the sun, here comes the sun
And I say it's all right
Little darlin' the smiles returning to their faces
Little darlin' it seems like years since it's been here
Here comes the sun, here comes the sun
And I say it's all right
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Little darlin' I feel the ice is slowly meltin'
Little darlin' it seems like years since it's been clear
Here come the sun, here comes the sun
And I say it's all right
Here come the sun, here comes the sun
It's all right, it's all right

 

 

TAXMAN

 

Let me tell you
How it will be.
There's one for you,
Nineteen for me,

'Cause I'm the taxman.
Yeah, I'm the taxman.

Should five percent
Appear too small,
Be thankful I don't
Take it all.

'Cause I'm the taxman.
Yeah, I'm the taxman.

If you drive a car,
I'll tax the street.
If you drive to city,
I'll tax your seat.
If you get too cold,
I'll tax the heat.
If you take a walk,
I'll tax your feet.

Taxman!

'Cause I'm the taxman.
Yeah, I'm the taxman.

Don't ask me what I want it for,
(Uh-uh, Mr. Wilson.)
If you don't want to pay some more.
(Uh-uh, Mr. Heath.)

'Cause I'm the taxman.
Yeah, I'm the taxman.

And my advice to
Those who die.
(Taxman!)
Declare the pennies
On your eyes.
(Taxman!)

'Cause I'm the taxman.
Yeah, I'm the taxman,
And you're working for no one but me.
(Taxman!)

 

I'M SO TIRED

 

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 would 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 Walther 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
I'd give you everything
I've got for a little peace of mind
I'd give you everything
I've got for a little peace of mind