The BEATLES

Please Please Me
MINI-DOCUMENTARY (Insert into Computer to View)

(1963 / 2009)

1. I Saw Her Standing There 2'53
(John Lennon / Paul McCartney)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING LLC,
2. Misery 1'49
(John Lennon / Paul McCartney)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING LLC,
3. Anna (Go To Him) 2'57
(Arthur Alexander)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SHAPIRO BERNSTEIN & Co. Ltd., EMI MUSIC PUBLISHING Ltd., 5 Ardmore and BEECHWOOD MUSIC Ltd.,
4. Chains 2'25
(Gerry Goffin / Carole King)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING LLC,
5. Boys 2'27
(Luther Dixon / Wes Farrell)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING LLC,
6. Ask Me Why 2'26
(John Lennon / Paul McCartney)
Recorded: November 26, 1962 at EMI STUDIOS, London, England
UNIVERSAL / DICK JAMES MUSIC Ltd.,
7. Please Please Me 2'01
(George Harrison)
Recorded: November 26, 1962 at EMI STUDIOS, London, England
UNIVERSAL / DICK JAMES MUSIC Ltd.,
8. Love Me Do 2'22
(John Lennon / Paul McCartney)
Recorded: June 6; September 4 and 11, 1962 at EMI STUDIOS, London, England
MPL COMMUNICATIONS Ltd.,
9. P.S. I Love You 2'04
(John Lennon / Paul McCartney)
Recorded: September 11, 1962, EMI STUDIOS, London, England
MPL COMMUNICATIONS Ltd.,
10. Baby It's You 2'41
(Hal David / Barney Williams))
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
WINDSWEPT MUSIC (London) Ltd., EMI UNITED PARTNERSHIP Ltd., UNIVERSAL MUSIC PUBLISHING Ltd.,
11. Do You Want To Know A Secret 1'57
(John Lennon / Paul McCartney)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING LLC,
12. A Taste Of Honey 2'03
(Ric Marlow / Bobby Scott)
Recorded: February 11, 1963 at EMI STUDIOS, London, England
AMBRASSADOR MUSIC Ltd. / SONGFEST MUSIC Corp. (MCPS),
13. There's A Place 1'51
(John Lennon / Paul McCartney)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING LLC,
14. Twist And Shout 2'37
(Phil Medley / Bert Russell)
Recorded: February 11, 1963 at STUDIO 2, ABBEY ROAD STUDIOS, London, England
SONY / ATV MUSIC PUBLISHING (UK) Ltd.

Total Time: 32:33

  • John Lennon - Rhythm Guitar (1, 2, 4-7, 10-13), Acoustic Rhythm Guitar (3, 9), Rhythm Semi-Acoustic Soprano Guitar (14), Harmonica (4, 7, 8, 13), Handclaps (1), Lead Vocal (2, 3, 6, 10, 14), Joint Lead Vocal (8), Vocal (7), Harmony Vocal (4, 11, 12), Backing Vocal (1, 3, 5, 9)
  • Paul McCartney - Bass Guitar (1-14), Handclaps (1), Lead Vocal (1, 2, 8), Double-Tracked Lead Voca (12), Vocal (7, 9, 13, 13), Harmony Vocal (4), Backing Vocal (3, 5, 6, 10, 11, 14)
  • George Harrison - Lead Guitar (1-7, 9, 10-14), Acoustic Guitar (8), Hand-Claps (1), Lead Vocal (4, 11), Harmony Vocal (7, 12), Backing Vocal (3, 5, 9, 10, 13, 14)
  • Ringo Starr - Drums (1-7, 10, 14), Hand-Claps (1), Maracas (9), Tambourine (8), Lead Vocal (5)
  • Andy White – Drums (8, 9)
  • George Martin – Celesta (10)

    Produced by George Martin
    Principal Engineer: Norman Smith
    All Photographs ©APPLE Corps Ltd. except where otherwise stated.
    Front Cover Photography: Angus McBean
    Album Redesign: Drew Lorimer
    Photo Retouching: Gavin O'Neill
    This Remastered Album has been created from the original stereo analogue Master Tapes except for Tracks 8 and 9, which are from the original mono analogue Master Tapes.
    Remastered by Paul Micks, Steve Rooke and Guy Massey.
    Project Co-ordinator: Allan Rouse
    Historical Notes - Kevin Howlett and Mike Heatley
    Recording Notes: Ailan Rouse and Kevin Howlett
    Project Management tor EMI Records Ltd: Wendy Day and Guy Hayden

    Thanks To Simon Gibson

    All Songs Published by SONY / ATV MUSIC PUBLISHING LLC, except Track 3 SHAPIRO BERNSTEIN & Co. Ltd., EMI MUSIC PUBLISHING Ltd., 5 Ardmore and BEECHWOOD MUSIC Ltd., 6 & 7 UNIVERSAL / DICK JAMES MUSIC Ltd., 8 & 9 MPL COMMUNICATIONS Ltd., 10 WINDSWEPT MUSIC (London) Ltd., EMI UNITED PARTNERSHIP Ltd., UNIVERSAL MUSIC PUBLISHING Ltd., 12 AMBRASSADOR MUSIC Ltd. / SONGFEST MUSIC Corp. (MCPS), 14 SONY / ATV MUSIC PUBLISHING (UK) Ltd.

    Digital Remaster ©2009 The copyright in this sound recording is owned by EMI RECORDS Ltd ©2009
    Artwork ©2009 APPLE Corps Ltd.

    APPLE and PARLOPHONE
    "BEATLES", "APPLE" and the APPLE Logos are Trademarks of APPLE Corps Ltd.

    Pop picking is a fast 'n' furious business these days whether you are on the recording studio side listening out, or on the disc-counter side listening in. As a record reviewer I find myself installed halfway in-between with an ear cocked in either direction. So far as Britain's record collecting public is concerned, The BEATLES broke into earshot in October, 1962. My natural hometown interest in the group prevented me taking a totally unbiased view of their early success. Eighteen months before their first visit to the EMI studios in London, The BEATLES had been voted Merseyside's favourite outfit and it was inevitable that their first Parlophone record, LOVE ME DO, would go straight-into the top of Liverpool's local hit parade. The group's chances of national chart entry seemed much more remote. No other team had joined the best-sellers via a debut disc. But The BEATLES were history-makers from the start and LOVE ME DO sold enough copies during its first 48 hours in the shops to send it soaring into the national charts. In all the busy years since pop singles first shrank from ten to seven inches I have never seen a British group leap to the forefront of the scene with such speed and energy. Within the six months which followed the Top Twenty appearance of LOVE ME DO, almost every leading deejay and musical journalist in the country began to shout the praises of The BEATLES. Readers of the New Musical Express voted the boys into a surprisingly high place via the 1962/63 popularity poll... on the strength of just one record release. Pictures of the group spread themselves across the front pages of three national music papers. People inside and outside the record industry expressed tremendous interest in the new vocal and instrumental sounds which The BEATLES had introduced. Brian Matthew (who has since brought The BEATLES to many millions of viewers and listeners in his "Thank Your Lucky Stars", "Saturday Club" and "Easy Beat" programmes) describes the quartet as visually and musically the most exciting and accomplished group to emerge since The Shadows.
    Disc reviewing, like disc producing, teaches one to be wary about making long-term predictions. The hit parade isn't always dominated by the most worthy performances of the day so it is no good assuming that versatility counts for everything. It was during the recording of a Radio Luxembourg programme in the EMI Friday Spectacular series that I was finally convinced that The BEATLES were about to enjoy the type of top-flight national fame which I had always believed that they deserved. The teen-audience didn't know the evening's line-up of artists and groups in advance, and before Muriel Young brought on The BEATLES she began to read out their Christian names. She got as far as John ... Paul... and the rest of her introduction was buried in a mighty barrage of very genuine applause. I cannot think of more than one other group — British or American — which would be so readily identified and welcomed by the announcement of two Christian names. To me, this was the ultimate proof that The BEATLES (and not just one or two of their hit records) had arrived at the uncommon peak-popularity point reserved for disc-dom's privileged few. Shortly afterwards The BEATLES proved their pop power when they by-passed the lower segments of the hit parade to scuttle straight into the nation's Top Ten with their second single, PLEASE PLEASE ME. This brisk-selling disc went on to overtake all rivals when it bounced into the coveted Number One slot towards the end of February. Just over four months after the release of their very first record The BEATLES had become triumphant chart-toppers! Producer George Martin has never had any headaches over choice of songs for The BEATLES. Their own built-in tune-smith team of John Lennon and Paul McCartney has already tucked away enough self-penned numbers to maintain a steady output of all-original singles from now until 1975! Between them
    The BEATLES adopt a do-it-yourself approach from the very beginning. They write their own lyrics, design and eventually build their own instrumental backdrops and work out their own vocal arrangements. Their music is wild, pungent, hard-hitting, uninhibited ... and personal. The do-it-yourself angle ensures complete originality at all stages of the process. Although so many people suggest (without closer definition) that The BEATLES have a trans-Atlantic style, their only real influence has been from the unique brand of Rhythm and Blues folk music which abounds on Merseyside and which The BEATLES themselves have helped to pioneer since their formation in 1960. This record comprises eight Lennon-McCartney compositions in addition to six other numbers which have become firm live-performance favourites in The BEATLES' varied repertoire. The group's admiration for the work of The Shirelles is demonstrated by the inclusion of BABY IT'S YOU (John taking the lead vocal with George and Paul supplying the harmony), and BOYS (a fast rocker which allows drummer Ringo to make his first recorded appearance as a vocalist). ANNA, ASK ME WHY, and TWIST AND SHOUT also feature stand-out solo performances from John, whilst DO YOU WANT TO KNOW A SECRET hands the audio spotlight to George. MISERY may sound as though it is a self-duet created by the multi-recording of a single voice ... but the effect is produced by the fine matching of two voices belonging to John and Paul. There is only one 'trick duet' and that is on A TASTE OF HONEY featuring a dual-voiced Paul. John and Paul get together on THERE'S A PLACE and I SAW HER STANDING THERE; George joins them for CHAINS, LOVE ME DO and PLEASE PLEASE ME.
    Original 1963 cover notes TONY BARROW

    HISTORICAL NOTES

    Please Please Me was released into a pop music market that was still in its infancy. In March, 1963, 'music for teenagers' revolved around the single and many of the American rock 'n' roll artists loved by The BEATLES found little success in an LP chart dominated by sophisticated singers, easy listening instrumental and musicals of stage and screen. The achievements of The BEATLES would soon reverse that trend by vividly demonstrating the artistic and commercial potential of a pop album aimed at young record buyers. In 1963, however, the first BEATLES album on EMI's Parlophone label was intended as no more than a quickly-produced audio snapshot of a group enjoying its first taste of chart success. It featured the four songs from their two hit singles (although 'Love Me Do' was a different version) plus another ten tracks recorded in just one day. Many of these were covers of rock 'n' roll and rhythm & blues favourites from the group's stage repertoire. The gathering momentum of The BEATLES during 1963 proved unstoppable. George Martin's decision to sign the group to Parlophone in 1962 and EMI's small gamble to fund an album had both paid off handsomely. Please Please Me topped the UK album chart at the same time that their third single 'From Me To You' was at number one and only surrendered that position thirty weeks later to the second LP With The BEATLES. It continued its run in the Top Twenty for a further nine months. In this era, local hits for British artists rarely translated to American chart success and, not unusually, EMI's company in the States - Capitol Records -did not release either the album or 'From Me To You'. Instead, the material was licensed to the independent R&B label Vee-Jay, who issued 'Please Please Me' and 'From Me To You' in 1963. Although both singles failed to make any impact, an album was planned for the summer to include twelve of the Please Please Me songs. Called Introducing The BEATLES, the Vee-Jay LP eventually surfaced when the States fell under the BEATLES' spell in January, 1964. It reached number two -held off the top by the group's first Capitol album Meet The BEATLES!. The tracks licensed by Vee-Jay returned to their rightful home at Capitol in October, 1964 and eleven of them were shuffled into a different order for the album The Early BEATLES released in March, 1965. Simply through its initial British chart success, Please Please Me had given EMI an unparalleled return on their investment in studio time. It was The BEATLES' fifth single 'I Want To Hold Your Hand' and their second album With The BEATLES which sparked the explosive international success that changed everything... Recording Notes Produced by George Martin Principal Engineer: Norman Smith Having recorded two singles in 1962, The BEATLES made their fifth visit to EMI's studios in Abbey Road, North London on 11th February, 1963 to record the songs needed to make their debut album. In just nine and three quarter hours and using seven half-hour reels of tape, they completed eleven titles. The only song not used from that day was 'Hold Me Tight'. It was re-recorded seven months later for the next LP. Recording on a twin-track tape machine with the instruments sent to track one and the vocals to track two meant that the mono and stereo mixes could be made on another day. This ensured producer George Martin could devote all the valuable studio time to the intense recording schedule. The first session of this productive day began at 10.00am and after three hours they had two songs ready for overdub-bing in the afternoon. Three more songs were recorded between 2.30 and 6.00pm and two of them were also given overdubs. The second to be worked on was 'A Taste Of Honey', which features the 'trick duet' mentioned in the album's original cover notes. On that song, the recording made earlier was played back to Paul in the studio and simultaneously copied to another twin-track machine while he sang along with his original lead vocal. Double-tracking, as this was known, became a frequently used technique but for this album it was limited to this song. The afternoon's other overdubs included harmony vocals, harmonica, percussion and handclaps. When the evening session began at 7.30, they had five songs finished. Three and a quarter hours later they had completed a further six. After working on 'Hold Me Tight', The BEATLES stormed through five cover versions - ending the day with two performances of 'Twist And Shout'. It was their first take that was chosen to close the album. Two weeks later, the ten selected songs were mixed into mono and stereo during a three hour session and, when added to the four from 1962, the album was now complete. Please Please Me had taken a little over 25 hours to record, edit and mix - a few albums later, as BEATLES recordings became more adventurous, that would be hardly enough time to complete one song. Please Please Me was released at a time when mono was the preferred format and stereo records sold to a small number of hi-fi enthusiasts. The twin-track recordings formed the basis of this stereo album but their original purpose was to achieve a good balance between the instruments and the vocals when creating the masters. Inevitably, the stereo mix provides an unusual experience of hearing all the voices on the right side with all the instruments coming from the left. However, because the 1962 twin-track tapes of 'Love Me Do' and 'P.S. I Love You' had been discarded, the original stereo vinyl LP presented them in fake stereo. Although this was common practice at the time, it subsequently fell out of favour and so these songs are presented on this CD in mono.




    1. I Saw Her Standing There

      1 - 2 - 3 - 4 !

      Well, she was just 17,
      You know what I mean,
      And the way she looked was way beyond compare.
      So how could I dance with another (ooh)
      And I saw her standin' there.

      Well she looked at me, and I, I could see
      That before too long I'd fall in love with her.
      She wouldn't dance with another (whooh)
      And I saw her standin' there.

      Well, my heart went "boom,"
      When I crossed that room,
      And I held her hand in mine...

      Whoah, we danced through the night,
      And we held each other tight,
      And before too long I fell in love with her.
      Now I'll never dance with another (whooh)
      Since I saw her standing there

      Well, my heart went "boom,"
      When I crossed that room,
      And I held her hand in mine...

      Whoah, we danced through the night,
      And we held each other tight,
      And before too long I fell in love with her.

      Now I'll never dance with another (whooh)
      Since I saw her standing there

    2. Misery

      The world is treating me bad... Misery.

      I'm the kind of guy,
      Who never used to cry,
      The world is treatin' me bad... Misery!

      I've lost her now for sure,
      I won't see her no more,
      It's gonna be a drag... Misery!

      I'll remember all the little things we've done
      Can't she see she'll always be the only one, only one.

      Send hewr back to me,
      'Cause everyone can see
      Without her I will be in misery

      I'll remember all the little things we've done.
      She'll remember and she'll miss her only one, lonely one.

      Send her back to me,
      'Cause everyone can see,
      Without her I will be in misery (oh oh oh)
      In misery (ooh ee ooh ooh)
      My misery (la la la la la la)

    3. Anna (Go To Him)

      Anna,
      You come and ask me, girl,
      To set you free, girl,
      You say he loves you more than me,
      So I will set you free,
      Go with him.
      Go with him.

      Anna,
      Girl, before you go now,
      I want you to know, now,
      That I still love you so,
      But if he loves you mo',
      Go with him.

      All of my life,
      I've been searchin' for a girl
      To love me like I love you.
      Oh, now.. But every girl I've ever had,
      Breaks my heart and leaves my sad.
      What am I, what am I supposed to do.

      Anna,
      Just one more thing, girl.
      You give back your ring to me, and I will set you free,
      Go with him.
    Chorus

    Anna,
    Just one more thing, girl.
    You give back your ring to me, and I will set you free,
    Go with him.

    4. Chains

      Chains, my baby's got me locked up in chains.
      And they ain't the kind that you can see.
      Whoa, oh, these chains of love got a hold on me, yeah.

      Chains, well I can't break away from these chains.
      Can't run around, 'cause I'm not free.
      Whoa, oh, these chains of love won't let me be, yeah.

      I wanna tell you, pretty baby,
      I think you're fine.
      I'd like to love you,
      But, darlin', I'm imprisoned by these...

      Chains, my baby's got me locked up in chains,
      And they ain't the kind that you can see,
      Oh, oh, these chains of love got a hold on me.

      Please believe me when I tell you,
      Your lips are sweet.
      I'd like to kiss them,
      But I can't break away from all of these...

      Chains, my baby's got me locked up in chains.
      And they ain't the kind that you can see.
      Whoa, oh, these chains of love got a hold on me, yeah.

      Chains, chains of love...


      5. Boys



        I been told when a boy kiss a girl,
        Take a trip around the world,
        Hey, hey, (bop shuop, m'bop bop shuop)
        Hey, hey, (bop shuop, m'bop bop shuop)
        Hey, hey, (bop shuop) yeah, she say ya do. (Bop shuop)

        My girl says when I kiss her lips,
        Gets a thrill through her fingertips,
        Hey, hey, (bop shuop, m'bop bop shuop)
        Hey, hey, (bop shuop, m'bop bop shuop)
        Hey, hey, (bop shuop) yeah, she say ya do. (Bop shuop)

        Well, I talk about boys,
        Don't ya know I mean boys,
        Well, I talk about boys, now,
        Aaahhh, boys,
        Well, I talk about boys, now,
        What a bundle of joy! (Alright, George!)

        My girl says when I kiss her lips,
        Gets a thrill through her fingertips,
        Hey, hey, (bop shuop, m'bop bop shuop)
        Hey, hey, (bop shuop, m'bop bop shuop)
        Hey, hey, (bop shuop) yeah, she say ya do. (Bop shuop)

        Well, I talk about boys,
        Don't ya know I mean boys,
        Well, I talk about boys, now,
        Aaahhh, boys,
        Well, I talk about boys, now,
        What a bundle of joy!

      6. Ask Me Why

        I love you, 'cause you tell me things I want to know.
        And it's true that it really only goes to show,
        That I know,
        That I, I, I, I should never, never, never be blue.

        Now you're mine, my happiness still makes me cry.
        And in time, you'll understand the reason why,
        If I cry,
        It's not because I'm sad, but you're the only love that I've ever had.

        I can't believe it's happened to me
        I can't conceive of any more misery.

        Ask me why, I'll say I love you,
        And I'm always thinking of you.

        I love you, 'cause you tell me things I want to know.
        And it's true that it really only goes to show,
        That I know,
        That I, I, I, I should never, never, never be blue.

        Ask me why, I'll say I love you,
        And I'm always thinking of you.

        I can't believe it's happened to me.
        I can't conceive of any more misery.

        Ask me why, I'll say I love you,

      And I'm always thinking of you.

      7. Please Please Me


        Last night I said these words to my girl,
        I know you never even try, girl,
        C'mon...
        Please please me, whoa yeah, like I please you.

        You don't need me to show the way, love.
        Why do I always have to say "love,"
        C'mon...
        Please please me, whoa yeah, like I please you.

        I don't wanna sound complainin',
        But you know there's always rain in my heart (in my heart).
        I do all the pleasin' with you, it's so hard to reason
        With you, whoah yeah, why do you make me blue.

        Last night I said these words to my girl,
        I know you never even try, girl,
        C'mon...
        Please please me, whoa yeah, like I please you.

      8. Love Me Do

        Love, love me do.
        You know I love you,
        I'll always be true,
        So please, love me do.
        Whoa, love me do.

        Love, love me do.
        You know I love you,
        I'll always be true,
        So please, love me do.
        Whoa, love me do.

        Someone to love,
        Somebody new.
        Someone to love,
        Someone like you.

        Love, love me do.
        You know I love you,
        I'll always be true,
        So please, love me do.
        Whoa, love me do.

        Love, love me do.
        You know I love you,
        I'll always be true,
        So please, love me do.
        Whoa, love me do.
        Yeah, love me do.
        Whoa, oh, love me do.

      9. P.S. I Love You

        As I write this letter,
        Send my love to you,
        Remember that I'll always,
        Be in love with you.

        Treasure these few words 'till we're together,
        Keep all my love forever,
        P.S., I love you.
        You, you, you.

        I'll be coming home again to you, love,
        And 'till the day I do, love,
        P.S., I love you.
        You, you, you.

        As I write this letter,
        Send my love to you,
        Remember that I'll always,
        Be in love with you.

        Treasure these few words 'till we're together,
        Keep all my love forever,
        P.S., I love you.
        You, you, you.

        As I write this letter, (Oh oh oh)
        Send my love to you, (You know I want you to)
        Remember that I'll always, (Yeah)
        Be in love with you.

        I'll be coming home again to you, love,
        And 'till the day I do, love,
        P.S., I love you.
        You, you, you.
        You, you, you.
        I love you.

      10. Baby It's You

        Sha la la la la la la la
        Sha la la la la la la la
        Sha la la la la la la la
        Sha la la la la

        It's not the way you smile that touched my heart. (sha la la la la)
        It's not the way you kiss that tears me apart.

        Uh, oh, many, many, many nights go by,
        I sit alone at home and I cry over you.
        What can I do.
        Can't help myself, 'cause baby, it's you.
        Baby, it's you.

        You should hear what they say about you, "cheat," "cheat."
        They say, they say you never never never ever been true. (cheat cheat)

        Uh oh,
        It doesn't matter what they say,
        I know I'm gonna love you any old way.
        What can I do, and it's true.
        Don't want nobody, nobody, 'cause baby, it's you. (sha la la la la la la)
        Baby, it's you. (sha la la la la la la)

        Uh oh,
        It doesn't matter what they say,
        I know I'm gonna love you any old way.
        What can I do, when it's true.
        Don't want nobody, nobody, 'cause baby, it's you. (sha la la la la la la)
        Baby, it's you. (sha la la la la la la)
        Don't leave me all alone...

      11. Do You Want To Know A Secret

        You'll never know how much I really love you.
        You'll never know how much I really care.

        Listen,
        Do you want to know a secret,
        Do you promise not to tell, whoa oh, oh.

        Closer,
        Let me whisper in your ear,
        Say the words you long to hear,
        I'm in love with you.

        Listen,
        Do you want to know a secret,
        Do you promise not to tell, whoa oh, oh.

        Closer,
        Let me whisper in your ear,
        Say the words you long to hear,
        I'm in love with you.

        I've known the secret for a week or two,
        Nobody knows, just we two.

        Listen,
        Do you want to know a secret,
        Do you promise not to tell, whoa oh, oh.

        Closer,
        Let me whisper in your ear,
        Say the words you long to hear,
        I'm in love with you.

      12. A Taste Of Honey

        A taste of honey... tasting much sweeter than wine.

        I dream of your first kiss, and then,
        I feel upon my lips again,
        A taste of honey... tasting much sweeter than wine.

        I will return, yes I will return,
        I'll come back for the honey and you.

        Yours was the kiss that awoke my heart,
        There lingers still, 'though we're far apart,
        That taste of honey... tasting much sweeter than wine.

        I will return, yes I will return,
        I'll come back (he'll come back) for the honey (for the honey) and you.

      13. There's A Place

        There is a place,
        Where I can go,
        When I feel low,
        When I feel blue.
        And it's my mind,
        And there's no time when I'm alone.

        I think of you,
        And things you do,
        Go 'round my head,
        The things you said,
        Like "I love only you."

        In my mind there's no sorrow,
        Don't you know that it's so.
        There'll be no sad tomorrow,
        Don't you know that it's so.

        There is a place,
        Where I can go,
        When I feel low,
        When I feel blue.
        And it's my mind,
        And there's no time when I'm alone.

        There's a place ...

      14. Twist And Shout

        Well, shake it up, baby, now, (shake it up, baby)
        Twist and shout. (twist and shout)
        C'mon c'mon, c'mon, c'mon, baby, now, (come on baby)
        Come on and work it on out. (work it on out)

        Well, work it on out, honey. (work it on out)
        You know you look so good. (look so good)
        You know you got me goin', now, (got me goin')
        Just like I knew you would. (like I knew you would)

        Well, shake it up, baby, now, (shake it up, baby)
        Twist and shout. (twist and shout)
        C'mon, c'mon, c'mon, c'mon, baby, now, (come on baby)
        Come on and work it on out. (work it on out)

        You know you twist your little girl, (twist, little girl)
        You know you twist so fine. (twist so fine)
        Come on and twist a little closer, now, (twist a little closer)
        And let me know that you're mine. (let me know you're mine)

        Well, shake it up, baby, now, (shake it up, baby)
        Twist and shout. (twist and shout)
        C'mon, c'mon, c'mon, c'mon, baby, now, (come on baby)
        Come on and work it on out. (work it on out)

        You know you twist your little girl, (twist, little girl)
        You know you twist so fine. (twist so fine)
        Come on and twist a little closer, now, (twist a little closer)
        And let me know that you're mine. (let me know you're mine)

        Well, shake it, shake it, shake it, baby, now. (shake it up baby)
        Well, shake it, shake it, shake it, baby, now. (shake it up baby)
        Well, shake it, shake it, shake it, baby, now. (shake it up baby)