1963 Please, Please Me - The Beatles

 Vinyl L.P U.K · Mono · Parlophone · PMC 1202.

 Contraportada.

 Etiquetas lados 1 y 2.

 Vinyl L.P U.K · Estéreo · Parlophone · PCS 3042.

 Contraportada.

Etiquetas lados 1 y 2.

Letras:

I Saw Her Standing There.

(McCartney-Lennon)

One, two, free, four! 

Well, she was just seventeen, 

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.

Misery.

(McCartney-Lennon)

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).

Anna (Go to Him).

(Arthur Alexander)

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. 

Chains.

(Jerry Goffin/Carol King)

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...

Boys.

(Luter Dicson/Wes Farrell)

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!

Ask Me Why.

(McCartney-Lennon)

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.

Please Please Me.

(McCartney-Lennon)

Last night I said these words to my girl, 

I know you never even try, girl, 

Come on, come on, come on, come on 

Come on, come on, come on, come on 

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, 

Come on, come on, come on, come on 

Come on, come on, come on, come on 

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, 

Come on, come on, come on, come on 

Come on, come on, come on, come on 

Please please me, whoa yeah, like I please you.

Love Me Do.

(McCartney-Lennon)

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.

P.S. I Love You.

(McCartney-Lennon)

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.

Baby It's You.

(Hal David/Barney Williams/Bert Bacharach)

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...

Do You Want to Know a Secret?

(McCartney-Lennon)

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.

A Taste of Honey.

(Bobby Scott/Ric Marlow)

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.

There's a Place.

(McCartney-Lennon)

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...

Twist and Shout.

(Phil Medley/Bert Russell)

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).

Liner notes:

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 from 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 ages of three national music papers. People inside and outside the record industry expressed tremendous interest in the new vocal and instrumental sound 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 exiting 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 the 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 might 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 discdom’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 tunesmith 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, designed 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 pe,ople 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 comprised 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 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. 

– TONY BARROW.