![]() Like many relationships that turn sour, it was not a quick decline, but a gradual one where the narrator and their partner fall out of love and gradually grow apart ![]() So, the first night was not a great start, but the narrator pursued the relationship and eventually both overcame the rough start to fall in love with each other: "Take me back to the night we met:When the night was full of terrors: And your eyes were filled with tears: When you had not touched me yet" I believe that the relationship started poorly because of the lines: This is a hauntingly beautiful song about introspection, specifically about looking back at a relationship that started bad and ended so poorly, that the narrator wants to go back to the very beginning and tell himself to not even travel down that road. No.īut here is the definitive answer to the questions. She’s got a ticket to Rye, but she don’t care.Īnd for those who think that it went from Rye to Ride as a translation mistake. The man wants the woman to get an abortion but "she don't care."įor she would never be free when I was around. Listen to the song, and you will see what the song is about. Why you ask? Because Rye was a city in the UK where a woman could get an abortion. But when the Beatles came over to the states, the music label they were under made them change the title to Ticket To Ride. The song was actually called Ticket to Rye. I know what this song is about as I saw it on a documentary of The Beatles. It was quite radical at the time.A lot of you are on the right track. We almost invented the idea of a new bit of a song on the fade-out with this song. We picked up one of the lines, "My baby don't care," but completely altered the melody. I think the interesting thing is the crazy ending - instead of ending like the previous verse, we changed the tempo. It was pretty much a work job that turned out quite well. Because John sang it, you might have to give him 60 per cent of it. We'd often work those out as we wrote them. We wrote the melody together you can hear on the record, John's taking the melody and I'm singing harmony with it. I remember talking about Ryde but it was John's thing. But this 'number one' business doesn't seem to stop - great while it lasts - but now we'll have to start all over again and people will start predicting funny things for the next one. There's bound to be a time when we come in at 19 (on the charts). With Ticket To Ride we were even more worried. John Lennon, Lennon Remembers - Jann Wenner, 1970 It's a heavy record, and the drums are heavy too. I don't want anything else on the album, the guitars and janglin' piano or whatever. If you'd give me the eight-track now, remix it - I'll show you what it is really, but you can hear it there. If you go and look in the charts for what other music people were making, and you hear it now, it doesn't sound too bad. ![]() I liked it, 'cause it was slightly a new sound at the time. Paul McCartney, Paul McCartney: Many Years From Now w/Barry Miles, 1998 John just didn't take the time to explain that we sat down together and worked on that song for a full three-hour songwriting session, and at the end of it all we had all the words, we had the harmonies, and we had all the little bits. Paul's contribution was the way Ringo played the drums. That was one of the earliest heavy-metal records made.
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