Chords for John Lennon meets Paul McCartney
Tempo:
137.4 bpm
Chords used:
E
G
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I said, I was saying to somebody the other day,
there's only two artists I've ever worked with
for more than one night stand, as it were.
That's Paul McCartney and Yoko Ono.
I think that's a pretty damn good choice.
Because in the history of the Beatles,
[G] Paul met me the first day I did Bebop Alula live on stage.
Okay?
And a mutual friend brought him to see my group
called The [N] Quarrymen.
And we met and we talked after the show.
And I saw he had talent and he was playing guitar backstage
and doing 20 Flight Rock by Eddie Cochran.
And I turned around to him right then on first meeting,
he said, do you want to join the group?
And he said, mm-hmm, mm-hmm, [E] mm-hmm.
And I think he said yes [N] the next day, as I recall it.
Now George came through Paul and Ringo came through George.
Although of course I had a saying where they came from,
but the only, the person I actually picked as my partner,
who I recognized had talent and I could get on with,
was Paul.
12, or however many years later, I met Yoko.
I had the same feeling.
It was a different field, but I had the same feeling.
The inevitable question.
Are they ever going to get back together?
Yeah, I mean, first of all, is there any possibility?
But secondly, much more important,
do you think that it's a good idea?
Well, that's another point altogether,
whether it'd be a good idea or not.
You see, it's strange,
because at one period when they're asking me,
I was saying, no, never, what the hell, go back, no, not me.
And then there came to a period when I thought, well, why not?
If we felt like making a record or doing something.
Everybody always envisaged the stage show.
To me, if we worked together, studio again, you know,
stage show or something else.
If we've got something to say in a studio, okay.
Now when I'm saying that, I turn the paper
and George is saying, not me, right?
It's never got to a position where every,
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, that wouldn't be nice.
That wouldn't be bad, you know?
I mean, I've worked with Ringo,
I've worked with Ringo and George.
I haven't worked with Paul,
because we had a more difficult time,
but now we're pretty close, you know?
So it's, and the other question is, would it be worth it?
But that is answered by if we wanted to do it.
If we wanted to do it, then it'd be worth it.
If we got in a studio together and thought,
we turn each other on again,
then it would be worth it, you know?
And sod the critics, you know?
They've got nothing to do with it.
The music is the music.
If we make a piece that we think was worthwhile,
it goes out.
But it's such a, you know, it's pie in the sky.
I don't care either way.
If somebody wants to pull it together, I'll go along.
I'm not in the mood to pull it together, that's for sure.
I've got too much, I think we all have got too much
to do ourselves.
But if they were all in town, I wouldn't be,
I'd say, come on down, put them on my record,
then it'd be a Beatle record.
But if they were around, you know,
I jammed with Paul, I did actually play with Paul, yeah.
We did a lot of stuff in LA.
But there was 50 other people playing too,
and they're all just watching me and Paul, you know?
Yeah.
You must be pleased with what Paul's doing now, Tom.
I'm pleased that everybody's doing well, you know?
I'm more pleased that Ringo's doing well, you know?
That he's got himself a good niche.
Because I knew Paul would be all right.
What the hell am I worried about him?
You know, I know he's going to be all right.
In retrospect now, do you regret How Do You Sleep?
No, somebody said the other day, it's about me.
You know, I regret that it was so,
not the song, there were two things I regretted.
One, that there was so much talk about Paul,
they missed the song, it was a good track.
And I should have, you know, kept my mouth shut,
not on the song, it could have been about anybody,
you know, I mean.
And when you look at them back, you know,
Dylan said it about his stuff,
that he found out most of it's about him.
I wrote a sort of son of How Do You Sleep
on Walls and Bridges.
I can't remember the name, Steel and Glass,
which I thought was about a few people,
but then I'm realizing, no, it's me again?
So it's not about Paul, it's about me, you know,
I'm really attacking myself.
But I regret the association, but I have a lot of regret,
you know, I mean, he lived through it.
The real, the only thing that matters
is how he and I feel about those things,
and not what about, you know, the writer
or the commentator thinks about it, you know,
him and me are okay.
So I don't care what they say [E] about that, you know,
I can go through my thing.
I've always been a little different, you know,
Lennon blasts Hollies, you know,
that was one of the early [F] steps.
I've always been that.
Our first national press was me
beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press,
and we got the back page of the Mirror.
I've always been a [N] little, you know, loose.
And I hope it'll change,
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
my friends
there's only two artists I've ever worked with
for more than one night stand, as it were.
That's Paul McCartney and Yoko Ono.
I think that's a pretty damn good choice.
Because in the history of the Beatles,
[G] Paul met me the first day I did Bebop Alula live on stage.
Okay?
And a mutual friend brought him to see my group
called The [N] Quarrymen.
And we met and we talked after the show.
And I saw he had talent and he was playing guitar backstage
and doing 20 Flight Rock by Eddie Cochran.
And I turned around to him right then on first meeting,
he said, do you want to join the group?
And he said, mm-hmm, mm-hmm, [E] mm-hmm.
And I think he said yes [N] the next day, as I recall it.
Now George came through Paul and Ringo came through George.
Although of course I had a saying where they came from,
but the only, the person I actually picked as my partner,
who I recognized had talent and I could get on with,
was Paul.
12, or however many years later, I met Yoko.
I had the same feeling.
It was a different field, but I had the same feeling.
The inevitable question.
Are they ever going to get back together?
Yeah, I mean, first of all, is there any possibility?
But secondly, much more important,
do you think that it's a good idea?
Well, that's another point altogether,
whether it'd be a good idea or not.
You see, it's strange,
because at one period when they're asking me,
I was saying, no, never, what the hell, go back, no, not me.
And then there came to a period when I thought, well, why not?
If we felt like making a record or doing something.
Everybody always envisaged the stage show.
To me, if we worked together, studio again, you know,
stage show or something else.
If we've got something to say in a studio, okay.
Now when I'm saying that, I turn the paper
and George is saying, not me, right?
It's never got to a position where every,
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, that wouldn't be nice.
That wouldn't be bad, you know?
I mean, I've worked with Ringo,
I've worked with Ringo and George.
I haven't worked with Paul,
because we had a more difficult time,
but now we're pretty close, you know?
So it's, and the other question is, would it be worth it?
But that is answered by if we wanted to do it.
If we wanted to do it, then it'd be worth it.
If we got in a studio together and thought,
we turn each other on again,
then it would be worth it, you know?
And sod the critics, you know?
They've got nothing to do with it.
The music is the music.
If we make a piece that we think was worthwhile,
it goes out.
But it's such a, you know, it's pie in the sky.
I don't care either way.
If somebody wants to pull it together, I'll go along.
I'm not in the mood to pull it together, that's for sure.
I've got too much, I think we all have got too much
to do ourselves.
But if they were all in town, I wouldn't be,
I'd say, come on down, put them on my record,
then it'd be a Beatle record.
But if they were around, you know,
I jammed with Paul, I did actually play with Paul, yeah.
We did a lot of stuff in LA.
But there was 50 other people playing too,
and they're all just watching me and Paul, you know?
Yeah.
You must be pleased with what Paul's doing now, Tom.
I'm pleased that everybody's doing well, you know?
I'm more pleased that Ringo's doing well, you know?
That he's got himself a good niche.
Because I knew Paul would be all right.
What the hell am I worried about him?
You know, I know he's going to be all right.
In retrospect now, do you regret How Do You Sleep?
No, somebody said the other day, it's about me.
You know, I regret that it was so,
not the song, there were two things I regretted.
One, that there was so much talk about Paul,
they missed the song, it was a good track.
And I should have, you know, kept my mouth shut,
not on the song, it could have been about anybody,
you know, I mean.
And when you look at them back, you know,
Dylan said it about his stuff,
that he found out most of it's about him.
I wrote a sort of son of How Do You Sleep
on Walls and Bridges.
I can't remember the name, Steel and Glass,
which I thought was about a few people,
but then I'm realizing, no, it's me again?
So it's not about Paul, it's about me, you know,
I'm really attacking myself.
But I regret the association, but I have a lot of regret,
you know, I mean, he lived through it.
The real, the only thing that matters
is how he and I feel about those things,
and not what about, you know, the writer
or the commentator thinks about it, you know,
him and me are okay.
So I don't care what they say [E] about that, you know,
I can go through my thing.
I've always been a little different, you know,
Lennon blasts Hollies, you know,
that was one of the early [F] steps.
I've always been that.
Our first national press was me
beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press,
and we got the back page of the Mirror.
I've always been a [N] little, you know, loose.
And I hope it'll change,
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
my friends
Key:
E
G
F
E
G
F
E
G
I said, I was saying to somebody the other day,
there's only two artists I've ever worked with
for more than one night stand, as it were.
That's Paul McCartney and Yoko Ono.
I think that's a pretty damn good choice.
_ Because in the history of the Beatles, _ _
_ [G] Paul _ met me the first day I did Bebop Alula live on stage.
_ Okay?
And a mutual friend brought him to see my group
called The [N] Quarrymen.
_ And we met and we talked after the show.
_ And I saw he had talent and he was playing guitar backstage
and doing 20 Flight Rock by Eddie Cochran.
And I turned around to him right then on first meeting,
he said, do you want to join the group? _
And he said, mm-hmm, mm-hmm, [E] mm-hmm.
And I think he said yes [N] the next day, as I recall it. _
Now George came through Paul _ and Ringo came through George.
Although of course I had a saying where they came from,
but the only, the person I actually picked as my partner,
who I recognized had talent and I could get on with,
was Paul.
_ 12, or however many years later, I met Yoko.
I had the same feeling.
It was a different field, but I had the same feeling.
The inevitable question.
_ Are they ever going to get back together?
Yeah, I mean, first of all, is there any possibility?
But secondly, much more important,
do you think that it's a good idea?
Well, that's another point altogether,
whether it'd be a good idea or not. _ _
You see, it's strange,
because at one period when they're asking me,
I was saying, no, never, what the hell, go back, no, not me.
And then there came to a period when I thought, well, why not?
If we felt like making a record or doing something.
Everybody always envisaged the stage show.
To me, if we worked together, studio again, you know,
_ stage show or something else.
If we've got something to say in a studio, okay.
Now when I'm saying that, I turn the paper
and George is saying, not me, right?
It's never got to a position where every,
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, that wouldn't be nice.
That wouldn't be bad, you know?
I mean, I've worked with Ringo,
I've worked with Ringo and George.
I haven't worked with Paul, _
because we had a more difficult time,
but now we're pretty close, you know?
_ So _ _ it's, and the other question is, would it be worth it?
But that is answered by if we wanted to do it.
If we wanted to do it, then it'd be worth it.
If we got in a studio together and thought,
we turn each other on again,
then it would be worth it, you know?
And sod the critics, you know? _
They've got nothing to do with it.
The music is the music.
If we make a piece that we think was worthwhile,
it goes out.
_ But it's such a, you know, it's pie in the sky.
_ _ I don't care either way.
If somebody wants to pull it together, I'll go along. _
I'm not in the mood to pull it together, that's for sure.
I've got too much, I think we all have got too much
to do ourselves.
But if they were all in town, I wouldn't be,
I'd say, come on down, put them on my record,
then it'd be a Beatle record.
But if they were around, you know,
_ I jammed with Paul, I did actually play with Paul, yeah.
We did a lot of stuff in LA.
But there was 50 other people playing too,
and they're all just watching me and Paul, you know?
_ _ Yeah.
You must be pleased with what Paul's doing now, Tom.
I'm pleased that everybody's doing well, you know?
I'm more pleased that Ringo's doing well, _ you know?
That he's got himself a good niche.
Because I knew Paul would be all right.
What the hell am I worried about him?
You know, I know he's going to be all right.
In retrospect now, do you regret How Do You Sleep?
_ _ No, somebody said the other day, it's about me.
_ You know, I regret that it was so,
not the song, there were two things I regretted.
One, that there was so much talk about Paul,
they missed the song, it was a good track.
_ And I should have, you know, kept my mouth shut,
not on the song, it could have been about anybody,
you know, I mean. _
And when you look at them back, you know,
Dylan said it about his stuff,
that he found out most of it's about him.
I wrote a sort of son of How Do You Sleep
on Walls and Bridges.
_ I can't remember the name, Steel and Glass,
which I thought was about a few people,
but then I'm realizing, no, it's me again?
So it's not about Paul, it's about me, you know,
I'm really attacking myself.
_ But I regret the association, but I have a lot of regret,
you know, I mean, he lived through it.
The real, the only thing that matters
is how he and I feel about those things,
and not what about, you know, the writer
or the commentator thinks about it, you know,
him and me are okay.
So I don't care what they say [E] about that, you know,
I can go through my thing.
I've always been a little different, you know,
Lennon blasts Hollies, _ you know,
that was one of the early [F] steps.
I've always been that.
Our first national press was me
beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press,
and we got the back page of the Mirror.
I've always been a [N] little, you know, _ _ loose.
And I hope it'll change,
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
my friends
there's only two artists I've ever worked with
for more than one night stand, as it were.
That's Paul McCartney and Yoko Ono.
I think that's a pretty damn good choice.
_ Because in the history of the Beatles, _ _
_ [G] Paul _ met me the first day I did Bebop Alula live on stage.
_ Okay?
And a mutual friend brought him to see my group
called The [N] Quarrymen.
_ And we met and we talked after the show.
_ And I saw he had talent and he was playing guitar backstage
and doing 20 Flight Rock by Eddie Cochran.
And I turned around to him right then on first meeting,
he said, do you want to join the group? _
And he said, mm-hmm, mm-hmm, [E] mm-hmm.
And I think he said yes [N] the next day, as I recall it. _
Now George came through Paul _ and Ringo came through George.
Although of course I had a saying where they came from,
but the only, the person I actually picked as my partner,
who I recognized had talent and I could get on with,
was Paul.
_ 12, or however many years later, I met Yoko.
I had the same feeling.
It was a different field, but I had the same feeling.
The inevitable question.
_ Are they ever going to get back together?
Yeah, I mean, first of all, is there any possibility?
But secondly, much more important,
do you think that it's a good idea?
Well, that's another point altogether,
whether it'd be a good idea or not. _ _
You see, it's strange,
because at one period when they're asking me,
I was saying, no, never, what the hell, go back, no, not me.
And then there came to a period when I thought, well, why not?
If we felt like making a record or doing something.
Everybody always envisaged the stage show.
To me, if we worked together, studio again, you know,
_ stage show or something else.
If we've got something to say in a studio, okay.
Now when I'm saying that, I turn the paper
and George is saying, not me, right?
It's never got to a position where every,
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, that wouldn't be nice.
That wouldn't be bad, you know?
I mean, I've worked with Ringo,
I've worked with Ringo and George.
I haven't worked with Paul, _
because we had a more difficult time,
but now we're pretty close, you know?
_ So _ _ it's, and the other question is, would it be worth it?
But that is answered by if we wanted to do it.
If we wanted to do it, then it'd be worth it.
If we got in a studio together and thought,
we turn each other on again,
then it would be worth it, you know?
And sod the critics, you know? _
They've got nothing to do with it.
The music is the music.
If we make a piece that we think was worthwhile,
it goes out.
_ But it's such a, you know, it's pie in the sky.
_ _ I don't care either way.
If somebody wants to pull it together, I'll go along. _
I'm not in the mood to pull it together, that's for sure.
I've got too much, I think we all have got too much
to do ourselves.
But if they were all in town, I wouldn't be,
I'd say, come on down, put them on my record,
then it'd be a Beatle record.
But if they were around, you know,
_ I jammed with Paul, I did actually play with Paul, yeah.
We did a lot of stuff in LA.
But there was 50 other people playing too,
and they're all just watching me and Paul, you know?
_ _ Yeah.
You must be pleased with what Paul's doing now, Tom.
I'm pleased that everybody's doing well, you know?
I'm more pleased that Ringo's doing well, _ you know?
That he's got himself a good niche.
Because I knew Paul would be all right.
What the hell am I worried about him?
You know, I know he's going to be all right.
In retrospect now, do you regret How Do You Sleep?
_ _ No, somebody said the other day, it's about me.
_ You know, I regret that it was so,
not the song, there were two things I regretted.
One, that there was so much talk about Paul,
they missed the song, it was a good track.
_ And I should have, you know, kept my mouth shut,
not on the song, it could have been about anybody,
you know, I mean. _
And when you look at them back, you know,
Dylan said it about his stuff,
that he found out most of it's about him.
I wrote a sort of son of How Do You Sleep
on Walls and Bridges.
_ I can't remember the name, Steel and Glass,
which I thought was about a few people,
but then I'm realizing, no, it's me again?
So it's not about Paul, it's about me, you know,
I'm really attacking myself.
_ But I regret the association, but I have a lot of regret,
you know, I mean, he lived through it.
The real, the only thing that matters
is how he and I feel about those things,
and not what about, you know, the writer
or the commentator thinks about it, you know,
him and me are okay.
So I don't care what they say [E] about that, you know,
I can go through my thing.
I've always been a little different, you know,
Lennon blasts Hollies, _ you know,
that was one of the early [F] steps.
I've always been that.
Our first national press was me
beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press,
and we got the back page of the Mirror.
I've always been a [N] little, you know, _ _ loose.
And I hope it'll change,
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
my friends