You'll Be Mine

Release date: 20 November 1995

Well darling all the night
You'll be mine and I know
You'll be mine until you die
You'll be mine

And so
(And so)
All the night
(All the night)
You'll be mine
(You'll be mine)
You'll be mine
And the stars
(And the stars)
Always shine
(Always shine)
You'll be mine

My darling, when you brought me
That toast the other morning
I, I looked into your eyes
And I could see a nice little healthy eyeball
And I loved you like I never done
Like I've never done before!

And the stars
(And the stars)
Always shine
(Always shine)
And you'll be mine
[Incomprehensible] you'll be mine
You'll be mine
At the start
(At the start)
Oh yes, you'll be

"You'll Be Mine"
Song by the Beatles (then known as the Quarrymen) from the album Anthology 1
Released 20 November 1995
Recorded Spring/summer 1960
Genre Vocal
Length 1:38
Writer Lennon-McCartney
Anthology 1 track listing
"Hallelujah I Love Her So"
"You'll Be Mine"

"You'll Be Mine" is a short song, composed by Lennon-McCartney in the Beatles' early years. It was a humorous parody of the Ink Spots. It consists of Paul McCartney singing in a deep baritone, offset with shrill falsetto backing vocals, and guitar strumming. The lead vocal sings, in rather confused lyrics, about his determination of making a woman his; while the falsettos wail the last word of each sentence. About halfway through the song, John Lennon gives a mock-bass voice spoken interlude about how, when the woman burnt his toast one morning, he looked into her eyes and saw a "National Health Eyeball", then proceeded to love her like he has never done before. The song rises to a crescendo of wailing and bellowing, then fades out in laughter. To add to the confusion, the song is very difficult to understand; clicks, buzzes, fuzz, giggling, and the baritone voice obscure the lyrics.

Recorded in the McCartney family bathroom in 1960, it is the earliest song attributed to the Lennon-McCartney songwriting partnership to be officially released. Along with the other songs recorded on that day, it is one of the only known Beatles recordings to feature Stuart Sutcliffe on bass. Lennon's spoken section provides insight into his love of wordplay.

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