www.youtube.com/watch?v=v17zGW8wuTs&mode=related&search=Did I ever touch you on the cheek
Say that you were mine, thank you for the smile?
Did I ever knock upon your door
Try to get inside?
If I never did it, I was only waiting
For a better moment that didn't come
There never could be a better moment
Than this one, this one
This swan is gliding above the ocean
A God is riding upon his back
How calm the water and bright the rainbow
Fade this one to black
What opportunities did we allow to flow by
Feeling like the time it wasn't quite right
What kind of magic might have worked if we had stayed calm
Couldn’t I have given you a better life?
Well, I like's 'em.
I guess that makes me gay.
Sorry. When I have some real news I'll post it.
I never should have called this thread Gay Lyrics. Big mistake. Sorry.
Mind everyone, this is not surface trivial or topical.
from the playboy interview:
PLAYBOY: So you played with words from an early age?
PAUL: Yeah, you might call it sarcastic literary, because now everything
is so much more important and serious, you know? but as kids on the
streets, we just called it wisecracks. Sure, it was an ability with
words. It became one of the Beatles' specialties. You know, where
producer George Martin would say, "Anything you don't like." and we'd
say, "We don't like your tie." That was George who actually said that.
All those little famous Beatle wisecracks; we were all into the humor of
the time--Peter Sellers and the Goons and forecasts: "Tomorrow will be
muggy, followed by tuggy, wuggy and thuggy!" He was about 12, a smart
little kid. Another one was, "Yes, your Worship; yes, your battleship!" I
remeber that in a courtroom scene.
PLAYBOY: Did you ever envy his cleverness when you wrote together?
PAUL: No, not really. Just his repartee. I envied his repartee. But it
wasn't a question of envying each other. Each of us was as good as the
other. We used to sag off school Play hooky. . We'd go to my house and
try to learn to play songs. He had these banjo chords, I had half a
guitar chord--and don't forget, we started from exactly the same spot,
Liverpool. Almost the same street, only a mile or two between us. Only a
year and a half of age difference, knowledge of guitar, knowledge of
music. Pretty similar. I had a little bit more knowledge of harmony
through my dad. I actually knew what the word harmony meant. Laughter
So, you know, we started from the same place and then went on the same
railway journey together.
LINDA: It's just the critics who say, "Well, John was the biting tongue;
Paul's the sentimental one." John was biting, but he was also
sentimental. Paul was sentimental, but he could be very biting. They were
more similar than they were different.
PAUL: With me, how I wrote depended on my mood. The only way I would be
sort of biting and witty like that was if I was in a bad mood! Laughter
I was very good at sarcasm myself. I could really keep up with John then.
If I was in a bad enough mood, I was right up there with him. We were
terrific then. He could be as wicked as he wanted, and I could be as
wicked, too.
LINDA: But it is funny. I've often thought about how you two got your
images. You're sort of the cute, soft one, and John was supposedly hard.
But in truth, you could write Helter Skelter and he could write Goodnight
and the songs on Abbey Road.
PAUL: Yes.
LINDA: A lot of songs that people thought you wrote, he probably wrote;
and I'm sure there are a lot of songs people thought John wrote that were
really written by you.
PAUL: That's right. It was more gray than anyone knew.
LINDA: Oh, absolutely!
PAUL: I mean, I saw a recent account that put George down for his
contributions to the Beatles. But the real point is, there are only four
people who knew what the Beatles were about anyway. Nobody else was in
that car with us. The chauffeur's window was closed, and there were just
four of us in the back of that car, laughing hysterically. We knew what
we were laughing at; nobody else can ever know what it was about . . . I
doubt if even we know, in truth.
PLAYBOY: Even now, do you feel defensive if someone attacks one of the
four of you?
PAUL: Sure. I mean, you don't just dismiss George like that! There's a
hell of a lot more to him than that! And Ringo. The truth of this kind of
question depends on where you're looking: on the surface or below the
surface. On the surface, Ringo was just some drummer. But there was a
hell of a lot more to him than that. For instance, there wouldn't have
been A Hard Day's Night without him. He had this kind of thing where he
moved phrases around. My daughters have it, too. They just make up better
phrases. Some of my kids have got some brains. "First of a ball," the
girls say, instead of "First of all." I like that, because lyricists play
with words.
LINDA: Ringo also said, "Eight days a week."
PAUL: Yeah, he said it as though he were an overworked chauffeur. In
heavy accent "Eight days a week." Laughter When we heard it, we said,
"Really? Bing! Got it!" Laughs Another of his was "Tomorrow never knows."
He used to say, "Well, tomorrow never knows." And he'd say it for real.
He meant it. But all that sounds a bit trivial there. That wasn't all he
did. That was just the tip of the iceberg.
LINDA: But you said it. If only the four of you know, everybody else just
makes theories. Just as people theorize about life. Who knows about life?
PLAYBOY: Then you agree that your whole was greater than the sum of its
parts?
PAUL: Yeah. Yes. Definitely. Oh, yeah.
PLAYBOY: Most performers who have been part of a team continue to insist
that their solo work is equal to their teamwork.
PAUL: When the four of us got together, we were definitely better than
the four of us individually. One of the things we had going for us was
that we'd been together a long time. It made us very tight, like family,
almost, so we were able to read one another. That made us good. It was
only really toward the very end, when business started to interfere. . . .