Paperback writer

Ага, точно уж лжна из пяти любимых битловских.
**Эрик
Согласен полностью. Больше всего всегда поражал бас. Каково, а?

Сорри, хотел сказать *одна* из пяти любимых битловских

2 Mr.Moonlight
:))
Союз писателей просто обязан признать эту песню своим гимном:))

mARGO

Ещё один "мегахит" от гения,врубайте и получайте удовольствие!
Сегодня можно всё :)))

А что будет если из двух песен сделать одну?
The Beatles Paperback writer" и
The Monkees "I'm A Believer" . Результат - здесь!

Creation of the Beatles song Paperback Writer
How Paul McCartney was inspired to write the song 42 years ago
by Barry Miles

PAPERBACK WRITER WAS written by Paul McCartney in the early spring of 1966. “Penguin paperbacks was what I really thought of, the archetypal paperback,” McCartney reflected when I asked what his inspiration was. Penguin was almost a generic term for paperbacks in the early Sixties: they had such market dominance that people used the word to mean any paperbound book.

There was a shop on Charing Cross Road that sold nothing but Penguins, and a few doors away, Better Books also sold their complete catalogue, taking up half a room. In the days before hardback publishers had their own paperback lines, Penguin was able to publish George Orwell, Evelyn Waugh, Virginia Woolfe, Aldous Huxley, F. Scott Fitzgerald, James Joyce, D.H. Lawrence, virtually every major author. Everyone knew their colour coding: orange spine for fiction; blue for the non-fiction Pelican line; green for crime, black for classics. Germano Facetti had already introduced illustrations to the covers, but the typography and layout was still strictly standardised.

The kind of Penguin that McCartney was thinking of was The L-Shaped Room by Lynne Reid Banks, published in 1963. The working-class novels of the late Fifties and early Sixties had an immediate relevance to a group of youths down from Liverpool. McCartney: “We would be staying in Gower Street. It was like ‘digs'. You could read The L-Shaped Room and totally associate. ‘This is what I'm doing! This is about me.' It's true. It was an exact parallel; young professionals in a rooming house.” In the days before they stopped touring, and before they moved to London, the Beatles clocked up enormous numbers of hours in vans and buses, going from concert to concert, TV studio to recording studio. Cassette tape recorders were not yet in use, so they passed the time with books and magazines, unless a pirate radio station was within range.

When he wrote Paperback Writer, McCartney had been living in an attic room in his girlfriend's parent's large townhouse on Wimpole Street for almost two years. His girlfriend, Jane Asher, and her brother, Peter, then in Peter and Gordon, were both well- read and had large collections of books. The influence of living in an upper-middle class artistic household on McCartney was immense: he attended first nights, art openings, concerts of experimental music, all of which fed into his musical compositions. By this time he was collecting his own library.

In the autumn of 1965, my partner John Dunbar and I opened Indica Books and Gallery in Mason's Yard, off Duke Street St James's in Piccadilly. The third partner in the enterprise was Peter Asher and through him, one of the helpers who filled in holes in the wall, painted and put up shelves, was McCartney. Before we opened, I assembled the stock of the bookshop in the basement of the Ashers' house in Wimpole Street. Some days when I went in I would find a note from McCartney saying that he had taken some books: one listed Peace Eye Poems by Ed Sanders, Drugs and the Mind by De Ropp, Gandhi on non-violence and a book of poems by the Finnish poet Anselm Hollo. He had eclectic taste.

At the time, 1966, he said in an interview that his Auntie Lil had jokingly complained to him: “‘Why can't you ever write about a horse or the summit conference or something interesting?' So I thought: ‘All right, Auntie Lil. I'll show you'.” A more recent claim came from the DJ Jimmy Savile, who says he was reading a book backstage when John Lennon asked McCartney what they should write about next. McCartney's reply was: ‘Why not write about that book Jimmy is reading?' More significantly, McCartney once remarked that he liked the way the phrase “paperback writer” sounded, and wanted to build a song around it. His songs often had such small beginnings: Temporary Secretary was another.

He told me that he had the idea for Paperback Writer while driving out to John Lennon's house in Weybridge in the stockbroker belt for a songwriting session. McCartney: “You knew the minute you got there you'd have a cup of tea and you'd sit and write, so it was always good if you had a theme. I'd had a thought for a song and somehow it was to do with the Daily Mail so there might have been an article in the Mail that morning about people writing paperbacks.”

By the time McCartney arrived in Weybridge he had the song's structure in his head. McCartney: “I told John I had this idea of trying to write off to a publishers to become a paperback writer, and I said I think it should be written like a letter. I took a bit of paper out and I said it should be something like ‘Dear Sir or Madam, as the case may be...' and I proceeded to write it just like a letter in front of him, occasionally rhyming it. And John, as I recall, just sat there and said: ‘Oh that's it', ‘Uhuh', ‘Yeah'. I remember him, his amused smile, saying ‘Yes, that's it, yes.' You know, if it ain't broke don't fix it. ‘That'll do'. Quite a nice moment. ‘Hmm, I've done right! I've done well!' And then we went upstairs and put the melody to it. John and I sat down and finished it all up. I had no music, but it's just a little bluesy song, not a lot of melody. Then I had the idea to do the harmonies and we arranged that in the studio.” It was the first Beatles single that was not a love song.

McCartney had suggested that Lennon launch his second book, A Spaniard in the Works, at Indica bookshop but his PR people thought the premises were too small. McCartney had set up an arrangement with Indica that any books, art books in particular, or magazines that I thought were interesting should be sent to all four of the Beatles. I tended to get in paperbacks because they were cheap and our clientele was young and often impoverished. I had imported American paperback copies of a number of popular titles that were not yet published in Britain: these included Henry Miller's Sexus and Hubert Selby's Last Exit to Brooklyn, that was out in paperback in the States long before being published here.

In the song lyrics Paperback Writer is “a dirty story of a dirty man” so maybe he had Miller or Selby at the back of his mind. It is strange to think back to a time when paperbacks were actually a new thing and not regarded as proper books; Faber coyly called theirs “paper-covered editions”. Paperback Writer recognised that they had become part of our lives, worthy of a song.

Эксперт у нас как всегда,самого умного изображает.Эксперт,а как на счёт партии в шахматы,если ты такой умный?

2BRIAN WILSON:

>Эксперт у нас как всегда,самого умного изображает.Эксперт,а
>как на счёт партии в шахматы,если ты такой умный?

Я плохо играю в шахматы, Бр.Уилсон. Очень плохо. А статью привел для людей, которых интересует как появлялась песня. Жаль, не для тебя.

Признаюсь.Я не владею английском.Да и не только я наверное...

А вот мне всегда не очень нравилась эта песня из-за вступления, где поется:Paperback writer, а сама песня очень даже ничего =)

Моно версия весьма "кудрявенькая".

Эксперту спасибо, а молодому человеку, выдающему себя за Брайана Уилсона, английский подучить не помешало бы.

У меня эта песня одно время была любимой...Сейчас правда нет уже,но все равно настроение поднимает!Хорошая песня :)

Куплеты так себе, главное в песне бэк-вокальный припев ну и в какой-то степени гитарный рифф. Возможно что "Доктора Роберта" Леннон сочинял по образцу сабжа - ритмичные рокнролльные куплеты и припев весьма мелодичный, радужный такой. Или как говорил Леннон - "фруктовый".

Как говаривал незабвенный Сеня Малина, "не любо - не слушай, а врать не мешай"...
Помню, песенку эту впервые заслушал на олдисе, он тогда только-только вышел и подруге Нине пэрента привезли. Ниасилил ниразу, кто таков этот самый райтер, и придумал для него перевод "избумажный писчик". ;))) (Понять - значит упростить.) Ну не было в те времена ни Донцовой, ни Александровой, переплёты на книгах сплошь пятые да седьмые, а что в мягкой обложке, так то не книга, а так, брошюрка, таблицы Брадиса... и бесшвейку треклятую ещё не изобрели... откуда нам было знать, что существует такое явление природы, как пейпербек?..

Андрей Хрисанфов

Еще до революции такой формат был. Расчет на то, что книголюб покупал книгу в мягкой обложке и переплетал ее в любой интересный ему цвет для своей библиотеки.

Ой, Эксперт, до ливорюции переплётное мастерство - это же совсем не нынешние ВШРА с их идиотской сошлифовкой корешкового фальца! Сейчас же ни одна ктять нормальную папку не сделает, только с прямым корешком, и хрен такую книгу на столе открытой оставишь! Переплётчики-хреноплётчики, так вас и разэтак!..

Одно время над переводом сабжа корпел:
"Господа и дамы, я свой скромный труд
Выставлять готовлюсь на ваш строгий суд.
Дал героев мне какой-то Лир,
Перенёс я их в современный мир.
Я - борзописец!
Я - борзописе-е-е-ец!.."

Полный решимости записать рифф покруче того, что Леннон придумал для "Day Tripper", Маккартни пошел в студию на Abbey Road, выкурил там косячок, и это вдохновило его записать басовую партию через громкоговоритель вместо микрофона. В результате Beatles удалось добиться самого тяжелого саунда за всю их предшествующую историю. Вокальные партии кружатся где-то на заднем плане, a потом вступает душераздирающая гитара Джорджа. Джон, явно из зависти, описывал сюжет этой песни как "скучные вещи, которые делают скучные люди". У "Paperback Writer" был драйв, на который вечные соперники Beatles, Beach Воys, тут же ответили синглом "Good Vibrations".

Они говорили: "Во время записи "Paperback Writer" мы все время делали звук погромче. Джон поднял его на отметку 7, Джордж - на 8, a уже через минуту Джон выкручивал ручку до 9" - Пол Маккартни.

3наете ли вы, что: в последнем куплете Джон и Джордж на бэк-вокале пронзительными голосами поют детскую считалочку "Frere Jacques" (ту самую, которую поет Maшa Старцева в "Петрове и Васечкине", когда играет Красную Шапочку).
http://vic.dom.no/_teki/muz/world_singles.html

Фрер Жаке... она ещё у Манфреда Манна в репертуаре была... Теперь знаем, пасиб.

А в выбрейшене, по-моему, не столько драйв, сколько многогогоголосье бичёвое. Вещь рулезная, впрочем.

2Тривими:

>Вокальные партии кружатся где-то на заднем плане,
>a потом вступает душераздирающая гитара Джорджа.

Где они нашли "задний план",если там всего один план,акапельный:-))