Well I suppose that you could say that we were playing hard to get
I’ll Follow the Sun (1964): One day, you'll look / To see I've gone / For tomorrow may rain, so / I'll follow the sun | Someday, you'll know / I was the one / But tomorrow may rain, so / I'll follow the sun | And now the time has come / And so, my love, I must go / And though I lose a friend / In the end, you will know, oh
Teddy Boy (1968): Then came the day she found herself a man / Teddy turned and ran / Far away, okay | He couldn’t stand to see his mother in love / With another man / He didn’t know, oh no
Yvonne’s the One (1985): Yvonne’s the one I’ve been counting on / She said, hold on / You’re not the only one / And so I said so long Yvonne
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I’ll Be Back (1964): I thought that you would realize / That if I ran away from you / That you would want me too / But I got a big surprise
Nowhere Man (1965): He’s as blind as he can be / Just sees what he wants to see / Nowhere man, can you see me at all?
Jealous Guy (1971): I was trying to catch your eyes / Thought that you was trying to hide
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Only Love Remains (1985): And if you take your love away from me / I'm only going to want it back / I'll probably pretend I didn't see / But knowing me, I'll want you back again
I’ll Follow the Sun (1960): One day, you'll look / To see I've gone / For tomorrow may rain, so / I'll follow the sun | Someday, you'll know / I was the one / But tomorrow may rain, so / I'll follow the sun | Well, don’t leave me alone, my dear / Have courage and follow me, my dear
Oh goshhhh, I’m fangirling very VERY HARD over Wakashimazu’s new seiyuu, Yuichiro Umehara. His singing voice is so sweet and has just a hint of deepness, like P E R F E C T I O N!
I really hope that he’ll sing CT’s ending, it would be a waste if he didn’t.
If he could sing with Hyuga’s seiyuu too I would go straight to heaven ruhegfak^$ù$^ù
EDIT 07/08/2018: LOL, just forget about this post PLZ.
or... another fanmix I made inspired by canon and (mostly) my headcanons and theories about Esmeralda and Quasimodo because... why not? I just love these two characters together so much! 💃🏾🔔🧑🏻🦰 My playlist is here if you want to listen to individual songs.
Length: 10 songs, 37 minutes 57 seconds
Tracklist:
Josh Groban - So She Dances **
Céline Dion - Tous les secrets
Nightwish - Beauty and the Beast
Garou - Passe ta route
Melanie C - Northern Star
Céline Dion - Let Your Heart Decide
Susan Egan et al. - I Won't Say (I'm in Love)
Bryan White & Andrea Corr - Looking Through Your Eyes
Alanis Morissette - Empathy
Vanessa Williams - Save the Best for Last
** Thank you, @thehunchcast, for the suggestion! 😊
My fanmix can also be downloaded. The link is here.
Happy listening! 🎶
EDIT 10/04/2026: You can check out part one of this compilation in this post.
Junk (1968): Motor cars, handlebars, bicycles for two / Broken-hearted jubilee | Parachutes, army boots, sleeping bags for two / Sentimental jamboree | Buy, buy, says the sign in the shop window / Why? Why? says the junk in the yard | Candlesticks, building bricks, something old and new / Memories for you and me
Originally written in India at Maharishi’s camp and completed bit by bit in London.
— In the McCartney (1970) press release.
But [‘Junk’] is mostly a love song. The “bicycles for you” merge into the “sleeping bags for two”. Then there’s a line: “Bye, bye says the sign in the shop window”. Sounds like one lover saying “bye, bye” and the other plaintively asking “why, why”, even as the junk in the yard demands an explanation for the urge to acquire something – or somebody – new.
— Paul McCartney, in The Lyrics (2021).
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Teddy Boy (1968): Then came the day she found herself a man / Teddy turned and ran / Far away, okay | He couldn’t stand to see his mother in love / With another man / He didn’t know, oh no
Another song started in India and completed in Scotland and London, gradually.
— In the McCartney (1970) liner notes.
It’s not too much of a stretch to connect this psychodrama to two sources. One is the terrible sense of loss I still feel about my mother. Teddy is then a version of myself, trying to console myself while purportedly consoling my mother. The other is that ‘Teddy Boy’ was written during that oddly productive time we spent in India in 1968. The Beatles actually did several takes of it in early 1969 for the Let It Be film.
— Paul McCartney, in The Lyrics (2021).
Teddy Boy (1969 Glyn Johns Mix): Then came the day she found herself a man / Teddy turned and ran / Far away, oh yeah | He couldn’t stand to just be around / So he left the town / Far away, oh yeah
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Hey Jude (1968): Hey Jude, don’t let me down / You have found her, now go and get her / Remember to let her into your heart / Then you can start to make it better | So let it out and let it in / Hey Jude, begin / You’re waiting for someone to perform with / And don’t you know that it’s just you / Hey Jude, you’ll do / The movement you need is on your shoulder
The first time I played this song for John and Yoko was on what we called the ‘Magic Piano’ in my music room. I was facing one way, and they were standing behind me almost on my shoulder. So when I sang, ‘The movement you need is on your shoulder’, I immediately turned around to John and said, ‘Don’t worry, I’ll change that,’ and he looked at me and said, ‘You won’t, you know. It’s the best line in it.’ So, this line that I was going to junk got to stay in. It’s a great example of how we collaborated. He was so firm about keeping it in that when I sing ‘Hey Jude’ now, I often think of John, and it’s become this emotional point in the song for me. [...]
What often happens with a song is that it starts off in one vein – in this case my being worried about something in life, a specific thing like a divorce – but then it begins to morph into its own creature. The title early on was ‘Hey Jules’, but it quickly changed to ‘Hey Jude’ because I thought that was a bit less specific. I realised no one would know exactly what this was about, so I might just as well open it up a bit. Ironically, for a time John thought it was about him and my giving permission for him to be with Yoko: ‘You have found her, now go and get her’. [...]
What happens next is that I start adding elements. When I write, ‘You were made to go out and get her’, there’s now another character, a woman, in the scene. So it might now be a song about a breakup or some romantic mishap. By this stage the song has moved on from being about Julian. It could now be about this new woman’s relationship.
— Paul McCartney, in The Lyrics (2021).
Bonus track:
I’ll Follow The Sun (1964): Some day you’ll know / I was the one / But tomorrow may rain, so / I’ll follow the sun | And now the time has come / And so, my love, I must go / And though I lose a friend / In the end you will know, oh | One day you’ll find / That I have gone / But tomorrow may rain, so / I’ll follow the sun
