Fact #119820
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Dick James (music publisher) : During rehearsals for The Beatles' Christmas Show at Hammersmith Odeon, I sat with Paul in the stalls, watching some of the other acts. He sang a few snatches of melody to me, which he and John had in mind for future songs.
Soon after, John started on the same tunes that Paul had just been singing. 'There's a title I've got in mind,' John said to me, 'which I can't get rid of – She's Got A Ticket To Ride.
I liked the phrase, for it was a slightly more original idea than usual for expressing goodbye and parting. I encouraged John to work at it.
John Lennon : Ticket To Ride was three-quarters mine and Paul changed it a bit. He said let's alter the tune. It is not as commercial as most of our singles because it wasn't written as a single. It was intended to be in the film. It was the first time a single was released that wasn't brought into the studio for that purpose.
Paul McCartney [The Beatles] : Ticket To Ride was written by John and myself in the middle of some other stuff for the film (Help!) at his house one afternoon. I remember talking about Ryde (in the Isle of Wight). Ticket is quite different and unusual from anything we've done. It's pretty slow and we're all very pleased with it because we feel we have got some good vocal harmony going on with John's lead voice.
We wrote the melody together, you can hear it on the record. John's taking the melody and I'm singing harmony with it. I suppose it has a bit of an Arabian rhythm thing going on.
We sat down together and worked on that song for a full three hour songwriting session. At the end, we had all the words, we had the harmonies and we had all the little bits.
George Martin (producer) : It was one of the first songs we recorded during the week in the studio before they went off to the Bahamas on location.
Most writers are lucky to have one good idea per song. On Ticket to Ride, John had three or four intriguing song bits that he joined together in the studio.
Paul McCartney : I think the interesting thing about it was the crazy ending. Instead of ending like the previous verse, we changed the tempo. We picked up one of the lines, 'My baby don't care' but completely altered the melody. We almost invented the idea of a new bit of a song on the fade-out. It was something specially written for the fade-out, which was quite cheeky. It was quite radical at the time.
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Soon after, John started on the same tunes that Paul had just been singing. 'There's a title I've got in mind,' John said to me, 'which I can't get rid of – She's Got A Ticket To Ride.
I liked the phrase, for it was a slightly more original idea than usual for expressing goodbye and parting. I encouraged John to work at it.
John Lennon : Ticket To Ride was three-quarters mine and Paul changed it a bit. He said let's alter the tune. It is not as commercial as most of our singles because it wasn't written as a single. It was intended to be in the film. It was the first time a single was released that wasn't brought into the studio for that purpose.
Paul McCartney [The Beatles] : Ticket To Ride was written by John and myself in the middle of some other stuff for the film (Help!) at his house one afternoon. I remember talking about Ryde (in the Isle of Wight). Ticket is quite different and unusual from anything we've done. It's pretty slow and we're all very pleased with it because we feel we have got some good vocal harmony going on with John's lead voice.
We wrote the melody together, you can hear it on the record. John's taking the melody and I'm singing harmony with it. I suppose it has a bit of an Arabian rhythm thing going on.
We sat down together and worked on that song for a full three hour songwriting session. At the end, we had all the words, we had the harmonies and we had all the little bits.
George Martin (producer) : It was one of the first songs we recorded during the week in the studio before they went off to the Bahamas on location.
Most writers are lucky to have one good idea per song. On Ticket to Ride, John had three or four intriguing song bits that he joined together in the studio.
Paul McCartney : I think the interesting thing about it was the crazy ending. Instead of ending like the previous verse, we changed the tempo. We picked up one of the lines, 'My baby don't care' but completely altered the melody. We almost invented the idea of a new bit of a song on the fade-out. It was something specially written for the fade-out, which was quite cheeky. It was quite radical at the time.