RUBY TUESDAY LYRICS: VERY TELLING....

[yellowmatter]

Ok, now i thought i'd seen someone reference to this in another thread however i could not find it when i searched.

So try not to bite my head off if this has already been discused.

Lyrics of Ruby Tuesday by the Stones - in my opinion very very telling.



Recorded in November & December, 1966. (nice timing)

Released as a US single on January 13, 1967 and went to #1 on the charts.

Released as a B side single in the UK also on  January 13, 1967. Released in the US on the album Between The Buttons on February 11, 1967.

And now for the lyrics:

Firstly the name, Ruby Tuesday ('Stupid "Bloody Tuesday"')
= Blood Red, the last day Paul was alive

She would never say where she came from

(Faul's annonymity)

Yesterday don't matter if it's gone

(Yesterday? Get it? - it's gone, the author is not alive:-/)

While the sun is bright
Or in the darkest night
No one knows

(So whether its light or dark, no one can tell its not Paul anymore)

She comes and goes

Goodbye, Ruby Tuesday

(Blood Red?)

Who could hang a name on you?

(Billy Shears, Sheppard??)

When you change with every new day

(All the Surgery - it fits in with the timing, late 66 he would be changing with 'every new day')

Still I'm gonna miss you (obvious)

Don't question why she needs to be so free
She'll tell you it's the only way to be
She just can't be chained
To a life where nothing's gained
And nothing's lost

(ok, nothing's lost because paul hasnt been lost - in everyones eyes, but nothing's gained because we're stuck with an imposter>)

At such a cost (Death)

There's no time to lose, I heard her say

(Ok, Paul met a sudden, premature end: 'no time to lose')

Catch your dreams before they slip away

(Faul realising dream come true?)

Dying all the time

(death references, really necessary?)

Lose your dreams
And you will lose your mind.

(Jagger seems to use 'Dreams' in the same way as one might use 'fantasy' - if Faul loses his 'dreams' of being paul, yes he would in fact lose 'his' mind - ie Paul's, which he has assumed:o)

Ain't life unkind? (To Paul)

Goodbye, Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I'm gonna miss you...

Ok now, don't get angry people - i can see several retorts coming of "Doesn't really fit - you're making it up, trying to fit the lyrics to the situation blah blah blah"

Sorry.

I just think it is timed far too coincidentally and why would it be a 'Ruby' Tuesday? (even if this is someone's name). It rings too much like Bloody Tuesday for me.

Reference to 'Yesterday' also seems quite pertinent.

The fact he says 'Yesterday don't matter if it's gone' may show Jaggers's disaproval of the way Paul's death is being dealt with - he may have been being ironic by imitating whoever masterminded the coverup ( You can imagine right?: Yesterday doesn't matter, that was Paul's , lets make the way for different music)

Again, apologies to anyone who has already put this up on the board. Just couldn't find it here when i looked.

[yellowmatter]

ooh Thanks LongJohn

Wasn't aware of that.

Seems like the Stones may have known about it since word go.

Novemeber 66?

Sorry this is far too much of a coincidence.

[Delta]

days of the week could also sometimes be codewords for certain beatles or people with them. read the lyrics of "lady madonna" and "she came in through the bathroom window" and notice how days of the week in some sentences are used in the way of a third person.

monday could be the codeword for John, because "monday's child has learned to tie his bootlace" (julian).
tuesday could be the codeword for JP, because of the "i am the walrus"-lyrics and "ruby tuesday"; though that doesn't seem to rhyme with "sunday's on the phone to monday, tuesday's on the phone to me".
sunday: brian, george martin or ...?
friday (night): ?
yesterday: ?

[Darkhorse]

What an amazing post! ;D

Whether it's true or not, it's a great post! And you're right, Ruby Tuesday is too much to be a coincidence.

I'm off to read lyrics to Tuesday's Gone.

[Fwings]

The Stones were friends with The Beatles (or at the very least, partied with them on numerous occasions). So obviously if something happened to JP, then they wouldn't be fooled by his replacement. They were probably made aware of it, or came to figure it out on their own.

I have to wonder though... why would John think they were behind Paul's death? If they knew each other well enough that the Stones would find out about Paul being replaced, then why assume that THEY would have commisioned his death?

[TotalInformation]

The last verse could be concrning Paul rather than specifically addressed to Faul-- recall some of the evidence bouncing around this board of Paul and the Beatles dreams of signing a contract in America and breaking free of EMI.

The November 1966 date might be too early for something addressed to Faul -- didn't he make his first appearance at the studio for the pepper sessions in December? Though the Stones may have been privy to Faul's existence as early as November, I suppose.

why would John think they were behind Paul's death? If they knew each other well enough that the Stones would find out about Paul being replaced, then why assume that THEY would have commisioned his death?

This could have been a line fed to Lennon et al by the MI5 handlers that came on the scene to 'help' the Beatles in the wake of McCartney's murder.

Recall also that the Stones were the Batles chief rivals and had probably been fed info by the likes of Martin playing up the rivalry for years.

Also key - the Stones and the Beatles were both invited to join the Church of Satan in 1966 -- the Stones accepted, the Beatles declined. If the scene where they found McCartney's corpse was particularly gruesome and perhaps ritualistic, this would have reinforced the connection to the Stones-as-Satanists at the time in the minds of the traumatised and confused Beatles.

[yellowmatter]

Thanks for your quick responses people!! ;D ;D

Delta: I like this idea - we should do more research on this - seems days of the week do feature quite prominantly in Beatles songs. Definately worthwhile looking in to this

Darkhorse: What can i say friend, thank you for the compliment. I was listening to my forty licks album earlier and my mind just wandered off. Then Jagger said "Ruby Tuesday" and i couldn't stop thinking about "Stupid Bloody Tuesday". I did some mild internet research expecting the release date of the song to be pre Paul's alleged death however it fit perfectly. Crazy goings on... ;D ;D

Wings: This is true of course, however to tell you the truth, i've never been too assured of John thinking like that. They were good friends and knew them well enough to know that their competition were not cold blooded killers. I'm pretty sure of that.

[yellowmatter]

TotalInformation -

Yes interesting point on The Beatles wanting to break free of EMI - i can see this in the last verse.

Oh and about them not knowing of Faul's existence - they may well have known the designs of what was going to happen ie. That a 'Faul' was in the making - hence the 'yesterday' not mattering anymore ('if it's gone').

[Scatterdome]

yellowmatter said:

Yesterday don't matter if it's gone

(Yesterday? Get it? - it's gone, the author is not alive:-/)

Don't question why she needs to be so free
She'll tell you it's the only way to be
She just can't be chained
To a life where nothing's gained
And nothing's lost

(ok, nothing's lost because paul hasnt been lost - in everyones eyes, but nothing's gained because we're stuck with an imposter>)

At such a cost (Death).

yellowmatter said:

TotalInformation -

Yes interesting point on The Beatles wanting to break free of EMI - i can see this in the last verse.

Oh and about them not knowing of Faul's existence - they may well have known the designs of what was going to happen ie. That a 'Faul' was in the making - hence the 'yesterday' not mattering anymore ('if it's gone').

"Don't question why she needs to be so free..."

If the Stones wrote this about the Faul situation, then under my alternate theory an interpretation of this would be that the "she" is Paul, who hired Faul partly because he wanted to be free!

The song "Terry Draper"... oops, I mean "Day Tripper" (released on 12/3/65) starts with the line: "Got a good reason for taking the easy way out..."

I have written much more on the Terry Draper connection on my alternate theory's thread in the last few days. Please check it out at page 5 of my theory's thread:
60if.proboards21.com/index.cgi?board=paul&thread=1063219993&action=display&start=60

I don't think the Stones are Satanists or murderers. But I do think they knew the Beatles well enough that they would have known the truth early on...

[Delta]

yellowmatter said:

Delta: I like this idea - we should do more research on this - seems days of the week do feature quite prominantly in Beatles songs. Definately worthwhile looking in to this

thanks, but it wasn't entirely my own idea. it was part of one of mrkite's posts.

[TotalInformation]

FWIW, from a message board:
-----------
: Everything that I have heard has stated that "Ruby Tuesday" was one of the first songs that KEITH wrote both lyrics and (with help from Brian) music for...which makes sense, cause it really fits in with the rest of the Keith songbook ("Wild Horses", "You Got the Silver"...all the way down to stuff like "Eileen". Now, as far as the crediting of songs on Stones records, just ask Bill Wyman about that-See what kind of answer you get!

Yes. You guys answered that nicely. To expand on your answers, Ruby Tuesday for me anyway, sticks out perhaps more than any other Jagger/Richards song, as far as the Brian Jones "upcoming problems in the band" connection goes. What we do know is that Mick had nothing to do with writing it (he has stated this himself). Supposedly the lyrics were written by both Keef & Brian at Keef's home one night, its about a groupie the two knew. All the music was pretty much Brian's creation with a little help from Keef.. Brian was promised by Mick & Keef that the song would be credited as Jones/Richards but when it was released, to the surprise of Brian it was credited to Jagger/Richards. Their producer Andrew Oldhan was blamed for this but Brian faulted all three of them and things were pretty much never the same for the Jagger-Richards-Jones relationship, which went down hill after that. So the story goes. I don't know if that is the whole story (you can bet its not) but from what I read it could be close to the truth.

[yellowmatter]

Thanks for finding this out TotalInformation - much appreciated friend ;D

[Fwings]

Of course, most of us know that the "official meanings" behind Beatles songs telling the story of Paul, Brian, and Faul are complete bunk, so I would assume that it's possible "Ruby Tuesday" would be the same.

[PaulBearer]

The song "Terry Draper"... oops, I mean "Day Tripper" (released on 12/3/65) starts with the line: "Got a good reason for taking the easy way out..."

Speaking of song names that sound like people, do you think there may be a link between "Penny Lane" and "Denny Lane". That "coincidence" strikes me as a bit odd.

[Scatterdome]

Good observation, PB! You just gave me another inspiration, combined with an error I made that was pointed out to me by SilverBeatle on the thread "LENNON & DYLAN..."

The Moody Blues were formed by Denny Laine and Mike Pinder in 1964. James Paul met Denny Laine in 1965 during a Beatles’ tour in which the Moody Blues participated. Denny left the Moody Blues to join Wings in 1971. He left Faul in the early ‘80s, which means that he was Faul’s longest-running continuous musical collaborator through that decade!

The following is a quote from the website called “I Am The Beatles.”

Penny Lane is an actual street in Liverpool, but it also is the name of the area that surrounds it's junction with Smithtown Road. Although it's merely a nondescript shopping area, John and Paul grew up here and spent many years in the neighborhood. In this song by Paul, it symbolizes the childhood innocence of days gone by, when everyone was friendly. John Lennon first thought of Penny Lane and was the first to refer to it in a song with "In My Life," but it was McCartney that made it work as a song of its own.

Link to this site at:
www.iamthebeatles.com/article1010.html

I think James Paul wrote Penny Lane, and that his original inspiration may have been that he noticed the phonetic similarity between “Penny Lane” and “Denny Laine.” James Paul and Denny Laine must have been good friends; like the quote above says, “In this song by Paul, it (Penny Lane) symbolizes the childhood innocence of days gone by, when everyone was friendly.”

Under my alternate theory, when Denny Laine joined Wings in 1971, James Paul was setting up Faul with a good band so that he didn’t have to keep propping him up for life; it would make sense that he would choose Denny Laine, since 1) He and Denny had been friends since 1965, so he knew he could keep a secret, and 2) He was one of the two co-founders of the Moody Blues, so he knew Faul would be in good hands, musically, and 3) It would provide us with another symbolic clue, confirming that the Beatles were way into this kind of phonetic symbolism! I think that from the moment the Beatles split, James Paul had a long-term plan to gradually phase out his involvement with Faul; he wanted his legacy to be protected, and wanted to ensure that the illusion remained intact for a while, just not permanently. He did not relish the idea of propping up Faul for the rest of his life, and being musically constricted by the parameters of such an illusion… which is where Klaatu enters the story!

I now think Paul’s choice of Terry Draper as “his voice” in Klaatu is actually very similar to his choice of Denny Laine as the man who would help prop up Faul for a decade; I think we’re supposed to notice the similarity! In other words: The Beatles record a song called “Penny Lane,” and later on, a man named Denny Laine becomes Faul’s longest-standing public musical collaborator. The Beatles record a song called “Day Tripper,” and later on, a man named Terry Draper becomes James Paul’s hidden musical collaborator in Klaatu.

The Klaatu connection is now becoming clearer for me. Today, it was pointed out to me on another thread that Terry Draper was born on September 22, 1951. If that is his true birthdate, it means that he turned 14 two months before the release of the “Day Tripper” single; therefore, he would not have been an early choice for Faul. There’s no way the Beatles would have been considering drafting in a boy who just turned 14 for a studio “Faul…” Even if he somehow had the vocal maturity, the Beatles knew enough about human nature to know that that would be way too young of an age to be drafted into such a strange situation. Likewise for the previous claims about Terry’s alleged post-’66 Beatles studio contributions. Just too young! They would never ask a kid to do that!
No, I now think that Terry did not meet a Beatle until after the Beatles broke up.

Instead, I think the reason vocal analysis has made that connection is because James Paul purposely drafted him into Klaatu because of 1) his ability to sing James Paul’s melodies in a voice similar enough to satisfy the composer’s need for a “voice,” but with enough of his own Canadian voice to not be a tacky imitation of the composer’s voice, and 2) the phonetic similarity of his name.

I think that to James Paul, the three Klaatu singers, all who would perform melodies written by him, represented a multi-lead singer band dynamic like the Beatles, and that Terry was chosen to be “his voice” in the group, even though James Paul was writing all three of the singers’ melodies.

[PaulBearer]

Wasn't the street "Penny Lane" named after the song came out, in honour of The Beatles; that is, the street name in the song was fictitious but representaive of the neighbourhood in which John and Paul grew up and then became a reality? But I could be wrong there, I just remember reading about the street being named after the song.

What's the voice of Denny Lane like? Could he have been used as an impersonator? I have know idea myself, this is just off the top of my head.

Faul had alot of trouble keeping the band Wings together, group members kept changing, we are told officially by Faul it's because it wasn't quite the right sound. However, I'm more inclined to believe it's because those members had trouble playing the "game", particularly if some were writing the songs for Wings and weren't allowed to have any personal recognition for the songs but had to have the name "Paul McCartney" on them. I think Denny Lane wrote some of those songs that you find so good Scatterdome (those songs on the early Faul albums might be good in their own right, but their style is still too different to be Paul's), and I think this is one of the reasons that Denny and Faul fell out in a big way. To write songs and not have any public recognition for being the author would build up alot of resentment. I think that's why Faul's later works were mediocre because I don't think he could get any good writers to play the game with him in the end, no matter how much money he offered them.