Come Together

"Come Together" is a song that operates on multiple levels of meaning, famously described by John Lennon himself as "gobbledygook." Its primary interpretation stems from its origin as a potential campaign song for Timothy Leary's run for governor of California against Ronald Reagan. Leary's slogan was "Come together, join the party." Lennon attempted to write a song around this theme but ended up with something far more cryptic and personal, which he felt was unsuitable for a political campaign. The song evolved from a political anthem to what Lennon called "me, writing obscurely around an old Chuck Berry thing."

Beyond its political origins, a popular and enduring interpretation is that each of the four verses is a cryptic description of one of the Beatles. Verse one, with its "holy roller" and "joo-joo eyeball," is often linked to the spiritually-inclined George Harrison. The second verse ("he wear no shoeshine," "monkey finger") could point to Ringo Starr. The third verse contains the most direct clues, with "Ono sideboard" and "walrus gumboot" clearly referencing John Lennon himself and Yoko Ono. The final verse's "roller-coaster" and being "good-looking 'cause he's so hard to see" is often interpreted as being about Paul McCartney. While these interpretations are widespread, they have never been officially confirmed by the band.

Ultimately, the song's meaning is intentionally ambiguous. It captures a spirit of unity and counter-cultural rejection of the establishment, but through a collage of surreal, nonsensical imagery rather than a direct statement. The repeated line "Come together, right now, over me" acts as a central, hypnotic command, a call for convergence that remains open to the listener's own interpretation, whether it be personal, political, or simply an invitation to join in the song's infectious groove.

The song introduces a mysterious and unconventional character, an old 'flat-top' who moves with a slow, deliberate groove. His presence is magnetic and strange, marked by 'juju eyeballs' and the status of a 'holy roller'. He has long hair, reaching down to his knees, and operates by his own rules, a true individualist who simply does as he pleases. This figure is an amalgamation of eccentricities and charisma, a person who defies simple categorization.

A second verse paints another picture of this, or perhaps another, peculiar individual. This person rejects societal norms, wearing no polished shoes and engaging in 'toe-jam football'. He possesses 'monkey finger' and 'shoots Coca-Cola', a series of bizarre, almost surreal attributes. There’s a sense of mutual, unspoken understanding surrounding him, as he declares, "I know you, you know me." The ultimate message delivered through this character is one of absolute freedom, a core tenet of his existence that others are urged to recognize and embrace.

The third profile is equally enigmatic. This character is associated with 'bag production' and 'walrus gumboot', phrases that hint at avant-garde or counter-cultural movements. He has an 'Ono sideboard', a direct reference to Yoko Ono's constant presence, and is described as a 'spinal cracker'. His feet are oddly placed 'down below his knee'. An unnerving intimacy is suggested with the line, "Hold you in his armchair, you can feel his disease," implying a powerful, almost corrupting influence. Each of these characters is a focal point, drawing everyone to 'come together' over them.

The final verse describes a figure who is like a 'roller-coaster', unpredictable and thrilling. He possesses 'early warning' and 'muddy water', and acts as a 'mojo filter', a purifier of some raw, primal energy. He speaks in riddles, proclaiming that 'one and one and one is three', a statement that defies logic. His allure is tied to his appearance; he has to be 'good-looking' precisely because he is 'so hard to see'—his true nature is elusive and difficult to grasp. Throughout the song, the persistent, hypnotic chant of "Come together, right now, over me" acts as a powerful, unifying command, urging listeners to converge and focus on these strange, compelling figures who represent a break from the ordinary.

The genesis of "Come Together" dates back to June 1969, when John Lennon and Yoko Ono hosted their second "Bed-in for Peace" in Montreal. One of their visitors was Timothy Leary, the LSD advocate, who was planning to run for governor of California. Leary asked Lennon to write a campaign song based on his slogan, "Come together, join the party." Lennon created a simple, chant-like demo on the spot. However, Leary's campaign was short-lived as he was arrested for marijuana possession, and the song was never used for its original purpose.

Lennon, recognizing the potential of the phrase and melody, brought the idea to The Beatles' recording sessions for the Abbey Road album on July 21, 1969. It was one of the last songs to be brought in for the album. The initial version Lennon presented was an up-tempo rock and roll number, heavily inspired by Chuck Berry's 1956 song "You Can't Catch Me." In fact, Lennon lifted the line "Here come ol' flattop," changing it only slightly from Berry's "Here come a flattop." This borrowing would later result in a lawsuit for copyright infringement from Berry's publisher, Morris Levy, which was settled out of court.

It was Paul McCartney who suggested they slow the song down, giving it a "swampy" feel to differentiate it from the Chuck Berry track. This led to the creation of the iconic, slinky bass riff that defines the song. Ringo Starr developed a unique and memorable drum pattern, using tom-toms heavily in the intro. The song was recorded over several days at the end of July 1969 at EMI Studios (now Abbey Road Studios), with George Martin producing. Lennon's whispered "shoot me" over the intro and instrumental breaks was a phrase he had incorporated from an earlier, unreleased song sketch called "Watching Rainbows." The final track, opening the Abbey Road album, became a testament to the band's collaborative genius even in their final days together.

The lyrics of "Come Together" are a dense collage of surreal imagery and enigmatic phrases, making it one of The Beatles' most analyzed and debated songs. The overarching symbolism is one of collage and free-association, creating a portrait of a counter-cultural figure or figures who defy convention.

Many of the phrases are seen as cryptic portraits of the individual Beatles:

• "Joo-joo eyeball": This could refer to George Harrison's spiritual pursuits ("juju" being a term for West African magic) or simply a description of his intense gaze. Some have even offered more bizarre interpretations relating it to Jewish managers.
• "Toe-jam football" and "Monkey finger": These nonsensical phrases contribute to the character's strange, almost grotesque image, possibly pointing to Ringo Starr's perceived earthiness or dexterity as a drummer.
• "He shoot Coca-Cola": A surreal action that defies explanation, adding to the song's absurdist quality. It has been speculated to be a reference to cocaine.
• "Ono sideboard" and "Walrus gumboot": These are direct, albeit symbolic, references to John Lennon's life at the time—his inseparable relationship with Yoko Ono and his previous lyrical creation, "I Am The Walrus."
• "Spinal cracker": This could be a reference to a recent car accident John and Yoko were in.
• "Muddy water" and "Mojo filter": These phrases evoke the blues tradition. "Muddy Water" likely refers to the blues musician Muddy Waters, and "mojo filter" is a play on a "mojo," a magic charm from blues folklore, and a philtre (love potion). This is often associated with Paul McCartney's musical influences.

The predominant emotional atmosphere of "Come Together" is one of cool, enigmatic swagger and slight menace. It's not an overtly emotional song in terms of joy or sadness, but rather creates a powerful and distinct mood. The feeling is often described as "swampy," "funky," and "bluesy," evoking a hazy, smoky, and mysterious environment. This atmosphere is meticulously crafted through the combination of its musical elements.

The slow, deliberate tempo (around 84 BPM) and Ringo Starr's heavy, tom-tom-driven drumbeat create a loping, hypnotic groove that feels both laid-back and weighty. Paul McCartney's iconic, slinky bass riff in a minor key is the primary driver of the song's ominous and coolly detached feeling. John Lennon's vocal performance is crucial to the emotional tone; he sings in a low, gritty, and slightly sneering drawl, with his voice heavily treated with echo, which adds to the sense of distance and mystery. The whispered, percussive interjection of "shoot me" adds a sharp, unsettling edge to the otherwise steady groove.

Lyrically, the nonsensical, surreal imagery contributes to an unsettling and cryptic emotional landscape. There are no clear emotional cues in the words, which forces the listener to rely on the sound and feel of the music. The result is a song that feels both unsettling and irresistibly groovy, a portrait of a figure who is dangerously cool and inscrutable. The track exudes a confidence and an air of mystery that has made it an enduring anthem of rebellion and individuality.

"Come Together" has had a profound and lasting cultural influence since its release as the opening track on the iconic 1969 album Abbey Road. It was also released as a double A-side single with George Harrison's "Something," reaching number one on the charts in the United States and becoming one of the band's most popular and enduring tracks. Its position as the lead-off song on The Beatles' final recorded album cemented its importance, setting a new, bluesier, and more fragmented tone for their last collective work.

The song's distinctive groove has made it a staple of classic rock radio. Its appeal was significantly broadened by a hard rock cover version by Aerosmith in 1978, recorded for the film Sgt. Pepper's Lonely Hearts Club Band. Aerosmith's version became a top 40 hit in the US and introduced the song to a new generation of rock fans, making it a permanent fixture in their live shows. Michael Jackson, who later acquired the publishing rights to many Beatles songs, also recorded a notable cover.

Ian MacDonald, in his book Revolution in the Head, described the song as a pivotal track that captured the moment when the younger generation rejected established wisdom for a "drug-inspired relativism." Its cryptic lyrics and rebellious, anti-establishment feel have made it a symbol of counter-culture. The song's influence persists in modern music, with its iconic bassline being frequently sampled or referenced, particularly in rap and funk music. Even decades after its release, it remains one of The Beatles' most-streamed songs worldwide, a testament to its timeless cool and enduring musical impact.

The rhythmic and rhyming structure of "Come Together" is fundamental to its distinctive, hypnotic feel. The song is set in a 4/4 time signature and maintains a slow, deliberate tempo of around 84-86 beats per minute. Its most defining rhythmic feature is the interplay between Paul McCartney's bass and Ringo Starr's drums. McCartney's bassline is a syncopated, descending riff that serves as the song's main hook. Starr's drum part is highly unconventional for a rock song; he forgoes a ride cymbal or hi-hat through much of the track, instead using muffled tom-toms and the bass drum to create a heavy, 'swampy' groove that feels both powerful and laid-back.

The lyrical rhythm is delivered by John Lennon in a style that is almost a spoken-word drawl, fitting into the pocket of the groove rather than driving it. The phrasing is relaxed, with Lennon stretching and compressing words to fit the musical space.

The rhyme scheme is simple and effective, generally following an AABB pattern within the verses, which provides a sense of structure to the otherwise nonsensical lyrics. For example:
He got hair down to his knee (A)
Got to be a joker he just do what he please (A)
This simple, repetitive rhyming makes the bizarre lyrical content more memorable and chant-like. The chorus, "Come together, right now, over me," breaks this pattern with its direct, commanding tone, creating a powerful contrast to the rambling verses.

"Come Together" is a masterclass in musical and lyrical stylization, creating a unique and instantly recognizable sound. Musically, the song is built on a foundation of blues and swamp rock. The most prominent feature is Paul McCartney's iconic bassline, a slinky, memorable riff that establishes the song's 'swampy' and ominous mood. Ringo Starr's drumming is equally distinctive; instead of a standard hi-hat pattern, he uses his tom-toms to create a heavy, rolling intro and a syncopated, laid-back groove throughout the verses. The arrangement is deliberately sparse in the verses, featuring just bass, drums, and a muted rhythm guitar, which creates a sense of space and tension.

John Lennon's vocal delivery is a key stylistic element. He sings in a low, bluesy, and slightly menacing tone, with heavy echo and compression. The whispered, percussive interjection "Shoot me," accompanied by a handclap, serves as a recurring, startling hook. The song's harmony blends D minor in the verses with a shift towards D major in the chorus, creating a subtle lift and change in mood. An electric piano, played by McCartney, is introduced in the instrumental section, adding another textural layer to the groovy jam.

Lyrically, the song employs a stream-of-consciousness, or "talking blues," style filled with surreal, nonsensical phrases ("juju eyeball," "toe-jam football"). Lennon described the lyrics as "gobbledygook." This technique of stringing together bizarre, evocative imagery is reminiscent of his earlier work on "I Am The Walrus." The lack of a clear narrative forces the listener to focus on the sound and feel of the words, contributing to the song's mysterious and enigmatic quality.

What is the meaning behind The Beatles' song 'Come Together'?

John Lennon described the lyrics as "gobbledygook." The song began as a campaign slogan for Timothy Leary but evolved into a cryptic, bluesy track. A popular theory is that each verse describes a different Beatle, though this has never been confirmed. Ultimately, its meaning is intentionally ambiguous.

Who or what is the 'old flat-top' in 'Come Together'?

The line "Here come ol' flattop" was borrowed directly from Chuck Berry's 1956 song "You Can't Catch Me." This led to a lawsuit from Berry's publisher, which was settled out of court. Within the song's narrative, 'flat-top' is the first of several strange, counter-culture characters John Lennon introduces.

What is the story behind the 'shoot me' whisper in 'Come Together'?

The barely audible "shoot me" whispered by John Lennon throughout the song was a musical idea he recycled from an earlier, unreleased jam session from January 1969, informally known as "Watching Rainbows." It serves as a percussive, edgy hook that adds to the song's mysterious and tense atmosphere.

Did John Lennon steal 'Come Together' from Chuck Berry?

Lennon was sued for plagiarism by Chuck Berry's music publisher, Morris Levy, not for the music but for using the lyric "Here come ol' flattop," which is very similar to a line in Berry's "You Can't Catch Me." Paul McCartney suggested slowing the tempo down to make it sound different, but the lawsuit proceeded anyway and was eventually settled out of court.

What does 'Ono sideboard' and 'walrus gumboot' mean in 'Come Together'?

These lines in the third verse are widely interpreted as direct references to John Lennon's own life. 'Ono sideboard' refers to his wife Yoko Ono's constant presence by his side, while 'walrus gumboot' is a nod to his earlier surreal song, 'I Am the Walrus.'

Who played the iconic bassline on 'Come Together'?

The famous, slinky bassline was created and performed by Paul McCartney. After John Lennon brought in the song as a faster rock-and-roll track, it was Paul's idea to slow it down and create the 'swampy' mood, for which he devised the memorable bass riff that defines the song's character.

What do the lyrics 'juju eyeball' and 'mojo filter' mean?

'Juju eyeball' likely refers to a magical or intense gaze, with 'juju' being a term for West African folk magic. 'Mojo filter' is a blues-inspired phrase, combining 'mojo' (a magic charm for seduction) and 'filter' (a play on 'philtre', a love potion), suggesting someone who refines a raw, magical energy.