Марк Льюисон отравляется в турне по случаю юбилея выхода альбома "Abbey Road"

Я так и не понял, а чем автор отравляется? Спасли?

Кстати о Люисоне. Он вторую часть своего опуса когда выпускает? В 2020? или тянуть будет?

2Andrey Malkin:

>Кстати о Люисоне. Он вторую часть своего опуса
>когда выпускает? В 2020? или тянуть будет?

Если не в 2020,то в 2021. Чем дальше по хронологии, тем сложнее: надо дождаться кое-чего.

24eloveck:

>Есть мнение, что на его решение повлиял выпуск
>Джоном сингла "Instant Karma!"

Как говаривал Джордж Харрисон на замечание Джона Леннона "Это лишь вопрос личного вкуса".
Поэтому есть другое мнение, что на то решение повлиял ЛП "Два девственника". И Пол выбрал Линду именно по причине ее согласия сниматься обнаженной для первого сольника Маккартни. Так как Джейн не хотела. Что стало причиной размолвки и дальнейшего разрыва трагического.

2Jude:

>А почему о данной пленке заявили только сейчас?

Эти пленки давно известны. Только подзабывали о них малость:

In conjunction with our last post about Mark Lewisohn playing a tape containing a business meeting on September 8, 1969 with Paul, George and John, we mentioned that said tape has been quoted from in books back in the seventies.




There is more dialogue on pages 92-95 which is possibly from the same meeting (this one Fawcett ascribes to September 1969), wherein John complains about having to fight to get his share of songs on an LP, or single A-sides, and basically admits to having given up.

I’m pretty sure this was Schaffner’s source in Beatles Forever (1977), although he may have gotten to hear the tape as well. There are a few people out there who claim to have heard portions of it (I certainly haven’t).


http://wogew.blogspot.com/

2adh:

>И Пол выбрал Линду
>именно по причине ее согласия сниматься обнаженной
>для первого сольника Маккартни.

И где там такое фото?

Стенограмма этой ленты 8 сентября появилась в 1976 году в книге Энтони Фосетта John Lennon: One Day At A Time.


John, Paul and George discussed this problem at Apple in the autumn of 1969, on one of the rare occasions when they got together. John glared at Paul and said, sarcastically: "It seemed mad for us to put a song on an album that nobody really dug, including the guy who wrote it, just because it was going to be popular, 'cause the LP doesn't have to be that. Wouldn't it be better, because we didn't really dig them, yer know, for you to do the songs you dug, and “Ob-La-Di, Ob- La-Da" and "Maxwell" to be given to people who like music like that, yer know, like Mary [Hopkins] or whoever it is needs a song. Why don't you give them to them? The only time we need anything vaguely near that quality is for a single. For an album we could just do only stuff that we really dug."

“We always carved the singles up between us,” he told Paul. “We have the singles market, [George and Ringo] don’t get anything! I mean, we’ve never offered George ‘B’ sides; we could have given him a lot of ‘B’ sides, but because we were two people you had the ‘A’ side and I had the ‘B’ side.”

“Well the thing is,” Paul answered, without even looking at George who sat a few feet away, “I think that until now, until this year [1969], our songs have been better than George’s. Now this year his songs are at least as good as ours.”

George was quick to correct Paul: “Now that’s a myth, ‘cause most of the songs this year I wrote about last year or the year before, anyway. Maybe now I just don’t care whether you are going to like them or not, I just do ‘em… If I didn’t get a break I wouldn’t push it. I’d just forget about it. Now for the last two years, at any rate, I’ve pushed it a bit more.”

“I know what he’s saying,” John said, “‘cause people have said to me you’re coming through a lot stronger now than you had.”

“I don’t particularly seek acclaim,” George said. “That’s not the thing. It’s just to get out whatever is there to make way for whatever else is there. You know, ‘cause it’s only to get ‘em out, and also I might as well make a bit of money, seeing as I’m spending as much as the rest of you, and I don’t earn as much as the rest of you!”

Like the others, George was now out on his own musically. "Most of my tunes," he said, "I never had the Beatles backing me."


"Oh! C'mon, George!" John shouted. "We put a lot of work in your songs, even down to 'Don't Bother Me'; we spent a lot of time doing all that and we grooved. I can remember the riff you were playing, and in the last two years there was a period where you went Indian and we weren't needed!"

"That was only one tune," George said. "On the last album [White Album] I don't think you appeared on any of my songs--I don't mind."

"Well, you had Eric [Clapton], or somebody like that," John replied, in a hurt tone of voice.

There was a long pause as each Beatle seemed lost in contemplation, wondering. Not wanting to admit that they were becoming individual musicians, Paul grasped at the remnants of truth and spoke slowly, almost whispering. “When we get in a studio, even on the worst day, I’m still playing bass, Ringo’s still drumming, and we’re still there, you know.”


Ссылка была выше,но решил тут запостить именно сам текст.

Так пленка есть в доступе? А то как то не по русски получается, Мистер Льюисон, инсайдами торговать...

Коля Шафнер тоже торговал. Все торгуют. И все так "не по русски"

2Dr. Pepper:

>Пол не был тогда ни в каком запое. Он записывал
>альбом. Запой был после распада группы и не долгий.
>Слава Линде!


"He knew he was in trouble the morning he couldn't lift his head off the pillow. He awoke facedown, his skull feeling like a useless dead weight. A dark thought flashed through his mind; if he couldn't make the effort to pull himself up, he'd suffocate right there and then," Doyle writes, pulling from McCartney's recollections.

"Somehow, as if it was the hardest thing he'd ever done, he summoned the energy to move. He flipped over onto his back and thought, Jesus . . . that was a bit near."

On Sept. 20, 1969, at a critical meeting of the still barely together Beatles in London, Lennon announced, "I'm leaving the group. I want a divorce."

McCartney returned to the isolated home, High Park Farm, that he shared with his wife, Linda, and their children in Argyll, Scotland, with the secret knowledge that life as "Beatle Paul" was over. He felt "utterly worthless."

"His often sleepless nights were spent shaking with anxiety, while his days, which he was finding it harder and harder to make it through, were characterized by heavy drinking and self-sedation with marijuana. . . . When he did get out of bed, he'd reach straight for the whisky, his drinking creeping earlier and earlier into the day. By 3 in the afternoon, he was usually out of it."

McCartney later said he "almost" had a nervous breakdown. That was no almost. Linda found the situation "frightening beyond belief." The rock star she had married was suddenly a broken, beaten man.

"Linda saved me," McCartney says. Over time, she was able to slowly rouse him from his depressed, substance-induced stupor with love and compassion, gently urging him forward. McCartney started writing songs again, secretly recording in a rickety makeshift studio on the farm.



"Man on the Run: Paul McCartney in the 1970s," by music journalist Tom Doyle

John - Mother, Love, Isolation, Give Peace a Chance
Paul - Junk, Maybe I'm Amazed, Every Night, Another Day
George - All Things Must Pass, Isn't It a Pity, Wah Wah, Beware of Darkness
Ringo - It Don't Come Easy, Early 1970
:)))

2MaccaInKiev:
>Я так и не понял, а чем автор отравляется? Спасли?

))))
Не спасли

2Mux. Бирюков (nECKAPb):

>John - Mother, Love, Isolation, Give Peace a Chance
>Paul - Junk, Maybe I'm Amazed, Every Night, Another Day
>George - All Things Must Pass, Isn't It a Pity,
>Wah Wah, Beware of Darkness
>Ringo - It Don't Come Easy, Early 1970
>:)))

Интересно! Ну тогда вот моя версия битловского альбома для весны 1971-го ;-)

Early 1970 (R)
My Sweet Lord (G)
Junk (P)
Instant Karma! (J)
Every Night (P)
Power To The People (J)
Isn't It A Pity (G)

Another Day (P)
Working Class Hero (J)
It Don't Come Easy (R)
Love (J)
What Is Life? (G)
Maybe I'm Amazed (P)
All Things Must Pass (G)

Тут уже драка за сингл была бы нешуточная!
Ну, или бы издали пару не-альбомных.

Типа:

Uncle Albert / Admiral Halsey (P)
Bye Bye Blackbird (R)

и

Wah Wah (G)
God (J)

Да уж, What Is Life тоже надо было бы втиснуть... :) Возможно вместо Wah Wah, ведь она про Маккартни; тот вряд ли согласился её включать в пластинку - хотя она и клёвая :)

2Mux. Бирюков (nECKAPb):

>ведь она про Маккартни; тот вряд ли согласился
>её включать в пластинку

Зато он согласился исполнить партию фортепьяно для Wah Wah во время Концерта для Джорджа.

2adh:

>Зато он согласился исполнить партию фортепьяно
>для Wah Wah во время Концерта для Джорджа.

Вообще-то, он не участвовал в исполнении, а сидел с растерянным видом за роялем. Очень его было в этот момент жалко.

24eloveck:

> а сидел с растерянным видом за роялем

Ну да, так оно и бывает. Приводишь товарища в группу, обучаешь основам композиторского мастерства, а он в ответ пишет на тебя пасквиль и ты сидишь такой растерянный, не знаешь, что и сказать.

Пол просто очень воспитанный человек. Честолюбивый, конечно, но в первую очередь воспитанный.

24eloveck:

>Вообще-то, он не участвовал в исполнении, а сидел
>с растерянным видом за роялем.

Еще один скрин участия Пола.

24eloveck:

>Пол просто очень воспитанный человек

Насколько понимаю, Джордж Харрисон совсем наоборот :)