Johnny & Jones- They were murdered, but not their music.

The one thing that always baffled me is the vehement hate the Nazis had for Jazz music. It was considered ‘Entartete Musik’,-degenerate music a label applied in the 1930s by the Nazis to Jazz and also other forms of music.

I have done a piece on Johnny & Jones before , this is not so much a follow up but more of an enhancement to the previous blog. I feel it is important to remember those who were murdered for their art and their religious background.

In the 1930s, the Amsterdam duo Nol (Arnold Siméon) van Wesel and Max (Salomon Meyer) Kannewasser , alias Johnny and Jones, were extremely popular – thanks in part to their first single Mister Dinges Weet Niet Wat Swing Is. They were cousins, accompanying themselves on guitar, the musicians sang their swinging Jazz songs with smooth lyrics in a semi-American accent. Their careers come to an end when the two Jewish musicians are arrested by the Germans during World War II and they are killed in the Bergen-Belsen concentration camp.

In 1934, “The Bijko Rhythm Stompers” performed in De Bijenkorf, a group consisting of Bob Beek, Max Kannewasser, Max Meents and Nol van Wesel. This is the first time that the collaboration between Max (Salomon Meijer) Kannewasser (24 September 1916/Jones) and Nol (Arnold Simeon) van Wesel (23 August 1918/Johnny) can be traced.
In 1936 Johnny and Jones started performing as a singing duo. They were discovered during a performance in café-restaurant “Van Klaveren” on the corner of Frederiksplein – Weteringschans.
Shortly afterwards they quit their job at De Bijenkorf and entered the artist profession. They soon became the first teenage idols in our country.

They could be heard regularly on VARA radio from 1938. They then performed as an interlude with “The Ramblers”. They recorded records for the record label Decca, which started in November 1938 with the song “Mister Dinges does not know what Swing is”. This song became a great success.

Initially at the start of the war, Johnny and Jones were able to perform without much problem. For example, in February 1941 they performed in Amersfoort with “The Ramblers”, but at the end of 1941 this was forbidden for Jewish artists.

With growing pressure to go into hiding, their final performance was for a wedding reception of one of Arnold’s colleagues from de Bijenkorf(Dutch department store), Wim Duveen.

He married Betty Cohen in the main Synagogue of Amsterdam in 1942. Salomon had married Suzanne Koster in 1942, a woman from the Dutch East Indies (Surabaya) and Arnold had married Gerda Lindenstaedt, also in 1942, a German refugee who had come to Holland 1939.

The young men went into hiding with their wives in the Jewish nursing home “Joodsche Invalide,” where staff would hide them in an elevator between floors during inspections. When they were not hiding, they performed for staff and patients. Disaster struck on 29 September 1943 when the home was raided and its inhabitants sent to Westerbork.

They were put to work there processing parts of crashed aircraft, including Plexiglas (source: Leo Cohen, fellow prisoner in Westerbork).Johnny and Jones found a place in the camp at the revue (consisting of excellent artists). Since only German-language performances were allowed, Johnny and Jones had to learn German. So first that language had to be well mastered, so they only performed in March 1944 during a camp revue.

In August 1944, the two singers were allowed to leave the camp, with permission of the commandant, not only for their work disassembling parts but also to record songs in Amsterdam. In the NEKOS studios they recorded 6 songs about their life in Westerbork, including ‘Westerbork Serenade’.

Below is the translated text of the song.

“Hello we feel a little out of order,
To pull myself together is quite hard,
Suddenly I’m a different person,
My heart beats like the airplane wrecking yard.

I sing my Westerbork serenade,
Along the little rail-way the tiny silver moon shines
On the heath.
I sing my Westerbork serenade
With a pretty lady walking there together,
Cheek to cheek.
And my heart burns like the boiler in the boiler house,
Oh it never hit me quite like this at Mother’s place
I sing my Westerbork serenade,
In between the barracks I threw my arms around her
Over there
This Westerbork love affair.
And so I went over to the medic,
The guy says: “there is nothing you can do;
Oh but you will feel a whole lot better
After you give her a kiss or two
(But that you must not do…)”

A fellow artist who met them at the time wondered how Jews were allowed to walk freely in Amsterdam, without a yellow star. They told him about their temporary freedom. He suggested that they go into hiding but they refused. It was a camp rule: those who escaped risked the lives of their families, who would be deported. So they returned.

In September 1944 they were deported with their wives to Theresienstadt. They did not stay long. On a transport from Theresienstadt the duo were split from their wives: Salomon and Arnold were deported from camp to camp: Auschwitz, Sachsenhausen, Ohrdruf, Buchenwald and then finally, after a 10-day train journey, they ended up in Bergen-Belsen, where they died of exhaustion shortly before liberation and the end of the war. Nol van Wesel died on 20 March 1945, aged 26; Max Kannewasser died on 15 April 1945, aged 28.

Salomon’s mother-in-law, Marie Louise Koster, recalled seeing their bodies dragged out of the sick barracks onto a van, to be cremated. She was in the so-called Stern Lager (Star camp) with her husband Willem and her daughter Sonja. Salomon’s wife Suzanne survived Mauthausen and Auschwitz and lived in the USA until 2018. Gerda was killed in Auschwitz in 1944. Neither had children. Arnold’s parents were killed in Auschwitz in 1942. Salomon’s parents had died before the war. Their cousin Barend Beek went via Westerbork to Auschwitz and was killed in a subcamp of Stutthof on 11 December 1944.

They may have been murdered but their music lives on.

Johnny & Jones, playing for the union crowd of NVV, Breda, 1938.

sources

https://holocaustmusic.ort.org/places/camps/western-europe/westerbork/johnny-jones/

Epic Rock Ballads-Episode 6:Marillion-Lavender

‘Kayleigh’ is the most played Marillion song by far. This kind of surprises me a small bit, although it is a good song, but Marillion has produced so many better songs,

Like ‘Kayleigh’ ,”Lavender” is also a ballad but a much better one.

It was released as the second single from their 1985 UK number one concept album Misplaced Childhood. The follow-up to the UK number two hit “Kayleigh”, the song was their second Top Five UK hit, entering the chart on 7 September 1985, reaching number five and staying on the chart for nine weeks. None of the group’s subsequent songs have reached the Top Five and “Lavender” remains their second highest-charting song.

Lyrics


I was walking in the park dreaming of a spark
When I heard the sprinklers whisper
Shimmer in the haze of summer lawns
Then I heard the children singing
They were running through the rainbows
They were singing a song for you
Well it seemed to be a song for you
The one I wanted to write for you, for you
Lavenders blue, dilly dilly, lavenders green
When I am King, dilly dilly, you will be Queen
A penny for your thoughts my dear
A penny for your thoughts my dear
I.O.U. for your love, IOU for your love
Lavenders green, dilly dilly, lavenders blue
When you love me, dilly dilly, I will love you
A penny for your thoughts my dear
A penny for your thoughts my dear
IOU for your love, IOU for your love
For your love
Source: LyricFind
Songwriters: Derek William Dick / Ian Mosley / Mark Kelly / Pete Trewavas / Steve Rothery
Lavender lyrics © Sony/ATV Music Publishing LLC

source

https://genius.com/Marillion-lavender-lyrics

Trying to bring joy in a dark time.

They say that music soothes the savage beast, But it can also bring joy and transport you back to a better time in your life. Benny Behr must have known this because he tried to keep up the spirits, by playing music.

Benny was Jewish Jewish and was married to a non-Jewish woman, Wien Bouwina Sijtina Havinga. Mixed-married Jewish people were exempt from deportation to concentration camps or death camps,initially. This meant that Benny Behr’s identity card not only had a stamp with the letter J, but also a Sperr stamp. He was one of the first mixed-married Jewish men to be forced to work in March 1944 at Fliegerhorst Havelte, a location in Drenthe that had been chosen by the German occupier for the construction of an airport.[Benny Behr was housed in the barracks camp at De Doeze on the Hunebedweg, which was also called the Jewish camp.

He became a room guard and was therefore able to access the leave passes. On leave without permission, however, the punishment for the Jewish men was immediate transport to camp Westerbork, a transit camp in Drenthe. When Benny Behr and a few other camp mates went home on July 28, 1944 with leave cards written out by himself, they were betrayed. As punishment, Benny Behr was transferred to Westerbork on August 1, 1944.

Benny started playing musical instruments when he was nine. He played violin, flute, saxophone and piano. Jazz in particular fascinated him immensely and it was obvious that he, like his two other brothers, became a musician. In 1920 he became involved in the musical life of Groningen and in 1937 he left for Amsterdam. He was taught there by the concertmaster of the Concertgebouw Orchestra. In Amsterdam Benny established his name in various orchestras. He used his talents to keep the spirits up in Westerbork.

Camp Westerbork could best be characterized with terms such as defeat but also hopeful expectation. You could see from the faces of the people that they were on the list to go on transport.

Education was compulsory in Westerbork for children aged 6 to 14. truants were severely punished by order of camp commander Gemmeker. Classes were regularly canceled because teachers were deported. At the end of a class period, a report in German was distributed to the children. From July 1942 to September 1944, a total of 17,500 children were deported from Westerbork to the extermination camps.

This is Benny’s story of his time in Westerbork.

“I played in the penal barracks for the children and also for the older people. Of course I played happy school songs for the children. The elderly also wanted to hear something classic. I have played pieces by Kreisler, among other things. And so I tried to amuse people. I was there in the penal barracks with Jews in hiding who, in the eyes of the Germans, had committed a criminal offense: they had tried to save their lives. They immediately put me to work. I got to the batteries. We were all sitting at long tables where we had to split these batteries, a terribly dirty job. After an hour you were pitch black from that powder that was in those batteries.

We all were terribly afraid, especially for the transports that went on Tuesday evenings. Then someone from the Ordedienst came to read the list of people who had to get ready for transport the next morning, or already that night. When the ‘B’ of my name was over, I must confess, I heaved a sigh of relief. So I wasn’t there this week. The next week you might have been there. But thank goodness I survived. And so the penal barracks slowly emptied.

At one point there was a court hearing. There were the so-called judges: Aus der Fünten, Gemmeker and Fischer. When that court hearing was held and I entered, the gentlemen were seated behind a table. I heard one say to the other: “Wieder ein Jude”. Within a minute the trial was over for me. So everyone was brought before the penal barracks. One or two days later, the news came that 59 persons were exempted from transport ‘bis auf weiteres’.(until further notice) And there I was at the top. The list started with the ‘B’. And so I stayed behind with 58 other people, the others all went on transport. This was at the beginning of September 1944. The 59 were discharged from the penal barracks and were allowed to join the so-called ‘free camp’.

After that I had several jobs. That’s how I started in the field. I also worked in the sawmill where I had to supply planks. In between the acts I also played the violin regularly. I also played there for the German Jews, some of whom lived in separate houses. Then I sometimes got cigarettes and some extra food. I also played in a trio with others.

Perhaps the best was my performance on the day of the liberation. Then that same evening I played for the Canadian commander and for the officers in the great hall. It was incredible. I then played for an hour in a row. Afterwards I got a lot of boxes of Sweet Caporal cigarettes, I can still remember that. I didn’t smoke myself and handed them out to the boys when I got back to the barracks. And those guys said, “Are you going to play again tomorrow night?” I said, “I don’t know yet. I haven’t been invited to that yet.” But I did play again the next night. That was my liberation.'”

After the war, Benny continued with his music career. In 1949 he started a weekly radio performance with a radio quartet, where he plays together with Sem Nijveen, whom he played with prior to the war and with whom he also had been with in Westerbork.

Benny formed a jazz orchestra: Benny’s Big Five, which became a success. Sem Nijveen and Benny Behr’s breakthrough internationally came in 1959 and gave many performances, including for the BBC in England. In 1963 Benny starred in a movie with Dutch comedian Tom Manders aka Dorus.
In 1967 he started playing in the Metropole Orkest in Amsterdam.In 1981 he played a violinist in a Dutch TV production of Mata Hari.

Benny Behr died on August 16, 1995 in Hilversum.

Benny’s family, like many other Jewish families, did not survive the war. His father, Hartog Behr died in Blechhammer , on March 31, 1944. His mother, Trijntje Behr was murdered in Auschwitz on October 26, 1942.

sources

https://westerborkportretten.nl/bevrijdingsportretten/benny-behr

http://www.holocaust-lestweforget.com/musician-benny-behr.html

Epic Rock Ballads-Episode 5:Queensryche-Silent Lucidity

Not just an epic ballad, but THE ballad. Well at least in my opinion, however, I am a bit bias when it comes to Queensryche, especially from the time when Geoff Tate was still the lead vocalist.

Lyrics
Hush now, don’t you cry
Wipe away the teardrop from your eye
You’re lying safe in bed


It was all a bad dream spinning in your head
Your mind tricked you to feel the pain
Of someone close to you, leaving the game of life


So here it is, another chance
Wide awake you face the day, your dream is over
Or has it just begun?


There’s a place I like to hide
A doorway that I run to in the night
Relax child, you were there


Only didn’t realize, and you were scared
It’s a place where you will learn
To face your fears, retrace the years


And ride the whims of your mind
Commanding in another world
Suddenly you’ll hear and see


This magic, new dimension
I will be watching over you
I am gonna help you see it through


I will protect you in the night
I am smiling next to you
In silent lucidity


Visualize your dream (yes)
Record it in the present tense
Put it into a permanent form (yes)


If you persist in your efforts, you can achieve dream control (help me)
How are we feeling today, better?


Dream control (help me)
Dream control (help me)
Dream control (help me)
Dream control (help me)


If you open your mind for me
You won’t rely on open eyes to see
The walls you built within


Come tumbling down and a new world will begin
Living twice at once you learn
You’re safe from pain in the dream domain


A soul set free to fly
A round trip journey in your head
Master of illusion, can you realize


Your dream’s alive, you can be the guide but
I will be watching over you
I am gonna help you see it through


I will protect you in the night
I am smiling next to you


Source: Musixmatch
Songwriters: Chris Degarmo
Silent Lucidity lyrics © Tri-ryche Corp.

How “Bridge over Troubled Water” nearly became a Pitcher of water.

Who doesn’t know this classic song by Simon and Garfunkel? It is loved by music fans of all genres, basically because it is a great song.

In an interview Paul Simon said that “Bridge Over Troubled Water” was influenced by the gospel music to which he was listening toat that time, especially the Swan Silvertones and their song “Mary Don’t You Weep” He had composed it on his guitar.

It became one of the duo’s biggest hits and their signature song, topping the U.S. and U.K. charts and picking up five Grammy awards in 1971, including Song of the Year and Record of the Year. Although Paul Simon wrote it, he wanted Art Garfunkel to sing it.

But it could have gone so wrong. The arranger Ernie Freeman had paid so little attention to the lyrics that the sheet music was titled Like a Pitcher of Water. He also wrote Garfunkel’s name incorrectly ‘GarFunkel’, and the string part was unsatisfactory.

Recording the song began in August 1969 in Hollywood, where producer Roy Halee gathered the elite session musicians known as the Hollywood Golden Trio: drummer Hal Blaine, bassist Joe Osborn and keyboardist Larry Knechtel. It was Knechtel’s challenging job to translate the music from guitar to piano according to Simon’s paradoxical brief: “Paul wanted it to be gospel but not gospel,” he recalled. Simon imagined that Bridge Over Troubled Water would be a “little hymn” but Garfunkel and Halee insisted that the song needed to be immense. It therefore needed a third verse, which Simon reluctantly and eventually wrote in the studio. It opened with a message to his wife-to-be Peggy Harper, who had recently fretted about finding her first grey hairs: “Sail on, silver girl.”

The rest of course is musical history.

sources

https://www.bbc.com/culture/article/20200122-the-forgotten-political-roots-of-bridge-over-troubled-water

https://www.biography.com/news/simon-garfunkel-relationship-facts

Going Dutch

“Going Dutch”is a term that indicates that each person participating in a paid activity covers their own expenses, rather than any one person in the group defraying the cost for the entire group. The term stems from restaurant dining etiquette in the Western world, where each person pays for their meal. It is also called Dutch date, Dutch treat (the oldest form, a pejorative),and doing Dutch.

However this blog is more about Dutch music, basically Dutch music sung in English but never really became hits outside the Netherlands.

The Classics: Yellow sun of Equador (1976)

The Cats – One Way Wind (1971)

BZN – Pearlydumm • TopPop

The NITS- In The Dutch Mountains

Spargo – You And Me (1980)

Time Bandits – I’m Specialized In You

Diesel – Sausalito Summernight

Epic Rock- Episode 10: Heroes del Silencio-Entre Dos Tierras

“Entre dos Tierras” is the first song that was released as a single from the album Senderos de treason released in 1990, by the Spanish rock group, Héroes del Silencio.

If there ever was any proof that a good song doesn’t always have to be in English, then this is it.

Te puedes vender
Cualquier oferta es buena si quieres poder
Qué fácil es
Abrir tanto la boca para opinar


Y si te piensas echar atrás
Tienes muchas huellas que borrar
Déjame
que yo no tengo la culpa de verte caer


Si yo no tengo la culpa de verte caer
Pierdes la fe
Cualquier esperanza es vana y no sé qué creer
Pero olvídame,
que nadie te ha llamado, ya estás otra vez
Déjame
que yo no tengo la culpa de verte caer
Si yo no tengo la culpa de ver que
Entre dos tierras estás
Y no dejas aire que respirar


Entre dos tierras estás
Y no dejas aire que respirar
Déjalo ya
No seas membrillo y permite pasar
Y si no piensas echar atrás
Tienes mucho barro que tragar
Déjame


que yo no tengo la culpa de verte caer
Si yo no tengo la culpa de ver que
Entre dos tierras estás
Y no dejas aire que respirar
Entre dos tierras estás
Y no dejas aire que respirar
Déjame
que yo no tengo la culpa de verte caer
Si yo no tengo la culpa de ver que
Entre dos tierras estás
Y no dejas aire que respirar
Entre dos tierras estás
Y no dejas aire que respirar

English lyrics(kind of)

you can sell yourself
Te puedes vender

Any offer is good if you want to be able
Cualquier oferta es buena si quieres poder

how easy it is
Qué fácil es

Open your mouth so much to comment
Abrir tanto la boca para opinar

And if you think to back down
Y si te piensas echar atrás

You have many traces to erase
Tienes muchas huellas que borrar
Let me
Déjame

that I’m not to blame for seeing you fall
que yo no tengo la culpa de verte caer

If I’m not to blame for seeing you fall
Si yo no tengo la culpa de verte caer
you lose faith
Pierdes la fe

Any hope is vain and I don’t know what to believe
Cualquier esperanza es vana y no sé qué creer

But forget me
Pero olvídame,

that no one has called you, you’re here again
que nadie te ha llamado, ya estás otra vez
Let me
Déjame

that I’m not to blame for seeing you fall
que yo no tengo la culpa de verte caer

If it’s not my fault to see that
Si yo no tengo la culpa de ver que
Between two lands you are
Entre dos tierras estás

And you leave no air to breathe
Y no dejas aire que respirar

Between two lands you are
Entre dos tierras estás

And you leave no air to breathe
Y no dejas aire que respirar
give it up
Déjalo ya

Don’t be a quince and let it pass
No seas membrillo y permite pasar

And if you don’t plan to back down
Y si no piensas echar atrás

You have a lot of mud to swallow
Tienes mucho barro que tragar
Let me
Déjame

that I’m not to blame for seeing you fall
que yo no tengo la culpa de verte caer

If it’s not my fault to see that
Si yo no tengo la culpa de ver que
Between two lands you are
Entre dos tierras estás

And you leave no air to breathe
Y no dejas aire que respirar

Between two lands you are
Entre dos tierras estás

And you leave no air to breathe
Y no dejas aire que respirar
Let me
Déjame

that I’m not to blame for seeing you fall
que yo no tengo la culpa de verte caer

If it’s not my fault to see that
Si yo no tengo la culpa de ver que
Between two lands you are
Entre dos tierras estás

And you leave no air to breathe
Y no dejas aire que respirar

Between two lands you are
Entre dos tierras estás

And you leave no air to breathe
Y no dejas aire que respirar

Source: LyricFind

Elvis Presley, King of Rock N Roll-Robert Johnson. King of the Blues: RIP.

August 16 is not a good day in Music History. On August 16,1938, legendary Blues musician Robert Johnson died at the age of 27. Making him of the first members of the elusive club of 27.

Johnson’s death was not reported publicly. Almost 30 years later, Gayle Dean Wardlow, a Mississippi-based musicologist researching Johnson’s life, found Johnson’s death certificate, which listed only the date and location, with no official cause of death. No formal autopsy had been done. Instead, a pro forma examination was done to file the death certificate, and no immediate cause of death was determined. It is likely he had congenital syphilis and it was suspected later by medical professionals that this may have been a contributing factor in his death. Although rumour has it thet he sold this soul to the Devil, in order to become the best Blues guitarist to ever walk the earth.

39 years later fate would strike the King of Rock N Roll.On the evening of Tuesday, August 16, 1977, Presley was scheduled to fly out of Memphis to begin another tour. That afternoon, Ginger Alden discovered him in an unresponsive state on the bathroom floor of his Graceland mansion. According to her eyewitness account, “Elvis looked as if his entire body had completely frozen in a seated position while using the toilet and then had fallen forward, in that fixed position, directly in front of it. … It was clear that, from the time whatever hit him to the moment he had landed on the floor, Elvis hadn’t moved.” Attempts to revive him failed, and he was pronounced dead at Baptist Memorial Hospital at 3:30 p.m. He was 42 years old.

While an autopsy, undertaken the same day Presley died, was still in progress, Memphis medical examiner Jerry Francisco announced that the immediate cause of death was cardiac arrest. Asked if drugs were involved, he declared that “drugs played no role in Presley’s death”, but we now know that drugs had played a major part in his death.

Both men changed the music scene forever. The were both Kings in their genre. Tow genres that soo often intertwined. If Rock N Roll and Blues were human beings they would have been brothers.

Finishing up with the music that made them so famous.

sources

Epic Rock Ballads-Episode 4: The Who/Limp Bizkit-Behind Blue Eyes

This episode of Epic Rock ballads, you will get 2 for the price of one. The original by the Who and the cover version by Limp Bizkit.

“Behind Blue Eyes” is a song by the English rock band the Who, recorded in 1971. It was the second single from their fifth album Who’s Next and was originally written by Pete Townshend for his Lifehouse project.[3][4] The song is one of the Who’s best-known recordings and has been covered by many artists, including Limp Bizkit and Tokio Hotel.

Behind Blue Eyes” originated after a Who concert in Denver on 9 June 1970.[5] Following the performance, Townshend became tempted by a female groupie, but he instead went back to his room alone, possibly as a result of the teachings of his spiritual leader, Meher Baba.[6] Upon reaching his room, he began writing a prayer, the first words being “When my fist clenches, crack it open…” These words later appeared as lyrics in the “climactic rocking section” of “Behind Blue Eyes.”

[Verse 1]
No one knows what it’s like
To be the bad man, to be the sad man
Behind blue eyes
No one knows what it’s like
To be hated, to be fated
To telling only lies

[Chorus]
But my dreams, they aren’t as empty
As my conscience seems to be
I have hours, only lonely
My love is vengeance that’s never free
[Verse 2]
No one knows what it’s like
To feel these feelings like I do
And I blame you
No one bites back as hard
On their anger, none of my pain and woe
Can show through

[Chorus]
But my dreams, they aren’t as empty
As my conscience seems to be
I have hours, only lonely
My love is vengeance that’s never free

[Bridge]
When my fist clenches, crack it open
Before I use it and lose my cool
When I smile, tell me some bad news
Before I laugh and act like a fool
And if I swallow anything evil
Put your finger down my throat
And if I shiver, please give me a blanket
Keep me warm, let me wear your coat

[Outro]
No one knows what it’s like
To be the bad man, to be the sad man
Behind blue eyes.

Epic Rock-Episode 9:The Beatles-Revolution

“Revolution” is a song by the English rock band the Beatles, written by John Lennon and credited to the Lennon–McCartney partnership. Three versions of the song were recorded and released in 1968, all during sessions for the Beatles’ self-titled double album, also known as “the White Album”: a slow, bluesy arrangement (titled “Revolution 1”) that would make the final cut for the LP; an abstract sound collage (titled “Revolution 9”) that originated as the latter part of “Revolution 1” and appears on the same album; and the faster, hard rock version similar to “Revolution 1”, released as the B-side of “Hey Jude”. Although the single version was issued first, it was recorded several weeks after “Revolution 1”, as a remake specifically intended for release as a single.

[Intro]
Aah!

[Verse 1]
You say you want a revolution
Well, you know
We’d all love to change the world
You tell me that it’s evolution
Well, you know
We’d all love to change the world
[Pre-Chorus 1]
But when you talk about destruction
Don’t you know that you can count me out

[Chorus]
Don’t you know it’s gonna be alright?
(Don’t you know it’s gonna be) Alright
(Don’t you know it’s gonna be) Alright

[Verse 2]
You say you got a real solution
Well, you know
We’d all love to see the plan
(Oh, shooby-doo-wah, oh, shooby-doo-wah)
You ask me for a contribution
Well, you know
We’re all doing what we can
(Oh, shooby-doo-wah, oh, shooby-doo-wah)

[Pre-Chorus 2]
But if you want money for people with minds that hate
All I can tell you is, brother, you have to wait

[Chorus]
Don’t you know it’s gonna be alright?
(Don’t you know it’s gonna be) Alright
(Don’t you know it’s gonna be) Alright
[Instrumental Break]

[Verse 3]
You say you’ll change the constitution
Well, you know
We all love to change your head
(Shooby-doo-wah, oh, shooby-doo-wah)
You tell me it’s the institution
Well, you know
You better free your mind instead
(Shooby-doo-wah, oh, shooby-doo-wah)

[Pre-Chorus 3]
But if you go carrying pictures of Chairman Mao
You ain’t going to make it with anyone anyhow

[Chorus]
Don’t you know it’s gonna be
Alright
Alright
Alright

[Outro]
Alright, alright
Alright, alright
Alright, alright
Alright, alright!

sources

https://genius.com/The-beatles-revolution-lyrics