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Новая книга Beatles for Sale В Москве

Тема: Битлз - книги, журналы и статьи

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Сообщение
Новая книга Beatles for Sale В Москве
Автор: Дед_Alex   Дата: 16.06.02 00:29:52
Цитата
В от об это книге информаация:
David Rowley

BEATLES
FOR SALE

The musical secrets of
The greatest rock’ n’ roll band of all time

MAINSTREAM PUBLISHING
EDINBURGH AND LONDON
(p. 224)

В книге приведены факты создание всех Битловсих песен. А уж, каждому свое, хочешь верь, хочешь ищи другой источник.
Дед.
Вопрос  
Re: Новая книга Beatles for Sale В Москве
Автор: Монстр66   Дата: 17.06.02 09:30:45   
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Дед_Alex, а что там пишут про Blackbird? (был такой вопрос в форуме)
Сообщение  
Re: Новая книга Beatles for Sale В Москве
Автор: Дед_Alex   Дата: 17.06.02 13:19:53   
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2: Монстр66 'BLACKBIRD' и другие:
'BLACKBIRD'
(McCartney/Lennon)
'Blackbird' is a wasted opportunity. Inspired by the widespread horror at Martin Luther King's assassination in April 1968, Paul intended 'Blackbird' to be a metaphor for the US black civil rights movement. Beautifully sung and played, this is one of the standout performances from the album and,yet while the lyrics are optimistic, the tune is melancholy. Furthermore, where Paul sings the word 'arise' the tune is sleepy. John claimed to have written a line of the lyrics, but his role must have been small as it is difficult to imagine him making such a mix-up
between words and melody. Paul said the tune was based on a piece by Bach he had learnt as a teenager.
'MARTHA MY DEAR’
(McCartney)
A prototype of the bouncy melody that characterised many of Paul's songs with Wings, this is the first Beatles track to fully capitalise on the potential of eight-track recording. Recorded at the album's close, each instrument is given a clarity that would provide an indication of the sound of Abbey Road. Written on guitar in India, the song had the original title 'Silly Girl' - that it was recorded some six months later suggests that significant rewriting must have taken place in between. The new words presumably had little relevance as Martha was also the name of Paul's sheepdog.
TM SO TIRED*
(Lennon)
Ever since 'Strawberry Fields Forever' John had been aiming to write songs in a conversational, stream-of-consciousness style. The inspired flow of the lyrics here are his most convincing use of this method and read as if completed in one brief session. The words came to John while suffering a bout of insomnia in India, caused by the long hours he was spending in meditation. As the lyrics suggest, he had been suffering this problem for three weeks. A great lover of sleep and dreams, he had clearly reached the end of his tether.
The performance of the song was as inspired as its writing, John's vocal flowing unbroken over the changes in tempo. The music too conjures up John's insomnia, the descending chord pattern emphasising his growing weariness.
'PIGGIES*
(Harrison/Lennon)
In the late '60s, the free love, long hair and alternative lifestyle of the hippy movement were met with widespread envy and anger by 'straight' society and the establishment. In response, the forces of law and order were often heavy-handedly used to clamp down on the hippies wherever possible. Clubs were raided, anti-war protests violently broken up and dope smokers fined or imprisoned. For many hippies at the sharp end of this treatment there was a great deal of bitterness and the emotions expressed in George's lyrics must have echoed the sentiments of many. 'Piggies', though, fails in its ugly imagery, as it is every bit as unpleasant as the 'straight society' it attacks. The use of a prissy sounding harpsichord to mock the establishment's snobbery is also laboured and obvious compared to John's brilliant satire on 'Happiness Is A Warm Gun'. It was John who, not surprisingly, added the song's only good line; having piggies 'eating bacon implies that the establishment eat their own kind.
'ROCKY RACOON'
(McCartney/Lennon/Donovan)
Musically the attention to detail in Paul's country and western pastiche is sublime, from John's hokey harmonica playing (and bass!) to George Martin's saloon-bar style piano. Yet in a foretaste of his solo career, Paul's yarn about a wild-west gunslinger is clumsy and never compelling. Both John and English folk singer Donovan, a close friend of Paul's, added to the lyrics, but it is hard to believe their contributions were anything but minor.
С Уважение, Дед.
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