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Starr contributed the line “writing the words of a sermon that no one will hear” and suggested making “Father McCartney” darn his socks. The Beatles finished the song in the music room of John Lennon’s home at Kenwood. I couldn’t think of much more so I put it away.” ‘Daisy Hawkins picks up the rice in the church’. The first few bars just came to me, and I got this name in my head. The name that came to him, though, was not Eleanor Rigby but Miss Daisy Hawkins: “I was sitting at the piano when I thought of it. Like many of McCartney's songs, the melody and first line of the song came to him as he was playing around on his piano.
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Tell me ma, me ma.”ġ966The Beatles – Eleanor Rigby and Yellow SubmarineĮLEANOR Rigby was released simultaneously on both the album Revolver and on a double A-side single with Yellow Submarine. The song has a special fondness on Merseyside, as it’s regularly sung at English football matches when a team is progressing to Wembley Stadium, with the lyrics: “Tell me ma, me ma. Incidentally, Jay’s brother, longtime Capitol Records executive Alan W Livingston, was the man who signed Frank Sinatra and The Beatles to Capitol. The song received the 1956 Oscar for Best Original Song with the alternative title Whatever Will Be, Will Be (Que Sera, Sera), bagging Livingston and Evans their third Oscar. When I was just a little girlI asked my mother, what will I beWill I be pretty, will I be richHeres what she said to me.Que Sera, Sera,Whatever will be, wil. When I was just a little girlI asked my mother, what will I beWill I be pretty, will I be richHere's what she said to me.Que Sera, Sera,Whatever will be, wil. From 1968 to 1973, it was the theme song for The Doris Day Show, becoming her signature song. So they were a clear choice to write the song for Alfred Hitchcock’s 1956 film, The Man Who Knew Too Much, starring Doris Day and James Stewart.ĭay’s recording for Columbia Records was a hit around the world.
#QUE SERA SERA WHATEVER WILL BE WILL BE MOVIE#
The pair – now regarded as two of the creators of the great American songbook – had already won the Academy Award for Best Original Song twice – in 1948 for the song Buttons and Bows, written for the movie The Paleface and in 1950 for the song Mona Lisa, written for the movie Captain Carey. JAY Livingston and Ray Evans were a dream team when it came to composing film music.