ニコラス・ダウイドフの「A Day In The Life」、c/o In Their Life: Great Beatles Songsの偉大な作家。（2017）
@amoraltoをもっと見る
I was tagged by the lovely @drearymondays! Thank you for thinking of me.
Once Upon A Long Ago (Extended Version)
Paul McCartney
Flowers In The Dirt
PAUL: Playing guitars on an empty stage / Counting the bars of an iron cage / Tell me darling, what can it all mean? / Picking up scales and broken chords / Puppy dog tails in the House of Lords / Tell me darling, oh what can it mean?
I Know (I Know) (Acoustic Demo, Take 2)
John Lennon
Early-Mid 1973: John works on 'I Know (I Know)'.
JOHN: The years have passed so quickly / One thing I've understood / I am only learning / To tell the trees from wood / I know what's coming down / And I know where it's coming from / And I know that I'm sorry, yes I am / That I never could speak my mind / And I know just how you feel / And I know now what I have done / Well I know that I'm guilty, yes I do / But I never could read your mind / Today / love you more than yesterday / Right now / I love you more right now.
I know what I was missing / Now my eyes can see / I put myself in your place / As you did for me / Now I know what's coming down / And I feel where it's coming from / Yes I know it's getting better all the time / As we share in each other's minds / Today / I love you more than yesterday / Right now / I love you more right now / Right now / I love you more right now / Right now / I love you more right now / Right now / I love you more right now...
As a companion to this earlier post, another lovely radio special hosted by Paul armed with anecdotes for the ages! (This time in lossless format.) This was ostensibly a series broadcast over five weeks, running three hours in total.
June 15th, 1964 (Southern Cross Hotel, Melbourne, Australia): John chats amiably with interviewer Malcolm Searle (?) about religion, sports, writing, meeting Paul, and Ringo's return to the group after his hospital stay.
JOHN: I met Paul when I was about sixteen, I think. I was playing with this group at a church social – a social Churchill, [laughs] a social, an agnostic church social – and he just came up to, you know, to watch. And he knew somebody I knew and they introduced us, and he knew the words to one of the songs that I didn't know, and I said, "Do you want to join the group?" and he did.
amoraltoDecember 25th, 1999: Paul McCartney's Rock 'n' Roll Radio Show. (BBC2)ge.ttOn the occasion of a certain anniversary, an entire radio special hosted by Paul for your listening pleasure! Two hours of reminiscing and rock 'n' roll records to take one back to 1957. #1957#1999#interviewed: paul#paul mccartney#john and paul#music
amoraltoO'HAGAN: Can we talk about specific songs: 'English Tea'? PAUL: That's about living in England and listening to the way some English people speak and parodying that. I love it but I also find it funny. I mean, I say, "Do you wanna cup of tea, la?" But somebody else will say, "Would you care to take tea?" or "As a rule, we take tea at three" or whatever. O'HAGAN: So is that the scouser in you taking the piss out of poshies? PAUL: Nah, it's more an affectionate nod. I kind of like that language. I went to a grammar school, and had a really good English teacher, and I love to read Dickens, so I love the English language. I even worked in the word 'peradventure'. (Sings in snooty voice) "Do you know the game croquet/Peradventure we might play." (Laughs) In a way, I was playing Noel Coward. He could sing that straight. O'HAGAN: Or the Bonzos? PAUL: Yeah, The Bonzos! So, in that song, I reclaimed the word 'gay' and got 'peradventure' in. You know what 'peradventure' means? O'HAGAN: Go on? PAUL: I won't go on, you tell me. O'HAGAN: 'Perhaps'? PAUL: Correct! I'd sort of heard it and it had stuck in some little corner of my brain. It fell out of my head into the song then afterwards I had to go to the dictionary, and go, "Please, let there be a word 'peradventure'!" And there it was. It's just putting myself in a fruity voice. It's a lady who lives in the town here, a classy dame, an old lady who speaks like that. It's lovely. "Would you care for a cup of tea?" All that stuff. Plus tea and hollyhocks and roses and gardens and croquet and church bells chiming and nanny baking fairy cakes. O'HAGAN: That English pop vernacular, Ray Davies? PAUL: Yeah, yeah. It's 'Waterloo Sunset' and Terry and Julie, and all that. It's great, that. Spot on. And it resonates. The second song ['How Kind Of You'] is also me being intrigued by that old, fading language... "How kind of you." And, it sings well. It's pretty elegant, genteel. Plus, what I really like is that if you don't sing it posh, it becomes more ironic, more fun. O'HAGAN: I took it as a very plaintive song, actually. PAUL: I know, I know. Some people have said that. But I'd never say, "How kind of you to think of me when I was out of sorts." That's not an expression that I'd use. It gets more me later on. It is about thoughtfulness, though, and things that are fading. It's got a phrase and a theme right there in the title. What more do you want? O'HAGAN: What about the lines: "How kind of you to stick by me during the final bout/And listen to the referee when I was counted out"? PAUL: Well, I know what that's all about – tragedies, the Beatles break-up, things going wrong, people writing me off, and all of this. (Sings from the heart) "I thought my time was up." So, there's this sort of therapy aspect I find about songwriting that's one of the other reasons I love it. If I'm feeling really low, I'll take my guitar to the darkest corner I can find in the house, often a toilet – good echo – and go there and sit with it, and talk to your guitar, explain it all to your guitar. And you come out and it's magical.Paul McCartney, interview w/ Sean O'Hagan for the Guardian: Macca beyond. (September 18th, 2005)#2005#interviewed: paul#paul mccartney#sean o'hagan#'i reclaimed the word gay'#oh paul#freudian goldmine
amoraltoJanuary 7th, 1969 (Twickenham Film Studios, London): An increasingly exasperated Paul yells into the immovable and unspeaking void despairs about everyone's commitment to this project and to making music together in general, bemoans their seeming inability to communicate openly and honestly with one another (and resorting to using Neil Aspinall and others as a conduit), and fears the worst about the Beatles' future if this continues. Mal Evans and filmmaker Michael Lindsay-Hogg insist that staying together would be good not just for the band itself but for the world at large. MICHAEL: 'Cause otherwise, there isn't any point in doing it. I don't mean – I don't mean us copping out in any way. I just mean, we oughta make – if we're gonna do it, we oughta make it... very good. Stop me when – stop me when I'm— [inaudible]PAUL: It's like Mal said last night. "If you're gonna do the show here, you've got to decide today." And he sort of said it, almost frightened to say it, you know, to the lads. Didn't really want to sort of shout at us. Didn't want – but he had to say it, because if you do the show, you're gonna have to decide today, you know, and it's like that. And it's like if you're gonna do these songs, you've got to learn the chords. And we all know them. And we've got to learn the words. It's just certain basic things that we've got to do, if we're gonna do it. See, and as far as I can see there's only two ways, and that's what I was shouting about the last meeting we had. There's only two things, you know. We're gonna do it, or we're not gonna do it. And I want a decision. Because I'm – I'm not interested enough to come to spend so many days farting around here while everyone makes up their minds about whether they want to do it or not, you know. I'll do it. If everyone else will, and everyone wants to do it, then alright. [laughs bleakly] But it's just a bit – a bit soft, you know? It's—MICHAEL: The point is—PAUL: It's like a school, you know, you've got to be here! And I haven't. I haven't, you know, I've... see, I've left school. We've all left school, and we don't have to go. But it gets into a scene where you do have to go there. さらに読む#1969#sessions: get back#the beatles#michael lindsay hogg#paul mccartney#the many ways i've tried#mal is a sweetheart
amoraltoJanuary 13th, 1969 (Twickenham Film Studios, London): During a morning discussion of John and Yoko's conduct and its unnerving impact on the Beatles, Linda offers her observation of what was (and wasn't) communicated by John and Yoko during a tense band meeting held the previous night. (Note: Follows shortly after this audio clip. Re: the band meeting, I would recommend listening to that as well as this other audio clip for more context.) LINDA: 'Cause I have a feeling that half the stuff Yoko said yesterday isn't – I mean, she was talking for John, and I don't think he really believed any of that, you know.#1969#sessions: get back#the beatles#linda mccartney#linda eastman#john and yoko
amoraltoJanuary 7th, 1969 (Twickenham Film Studios, London): A despairing Paul avows his own resolve to continue working and taking whatever challenge is offered (such as this prospective television concert/documentary project) for as long as it keeps the band going, and is baffled and dismayed by the others' seeming ambivalence (if not outright aversion) to their current circumstances. He calls John out on his obtuseness and incapability to talk with him openly and honestly, and upon receiving no response, relents and admits that this criticism applies to himself as well.PAUL: 'Cause you know, that's what I was telling you on the phone, that... I'll do it. Just because it is so silly of us now, at this point in our lives, to crack up. It's just so silly. Because there's no point! We're not going to get anywhere that we wanna get by doing that. The only possible direction is the other way from that, you know. [pause] You know. That is the only possible direction. But the thing is we're all just theoretically agreeing with it and not doing it. [to John] You're doing your bit through you and Yoko, you know, but it's silly, you know, to sort of, uh, coming and talking down to us. Well, actually your way out is not to talk, rather than talk down to us, which you'd have to do, you'd think, but you wouldn't be. And remember, I think I'm talking down to you, too. [pause] But, you know, we're not! [laughs bleakly] You know me. We're all – we're all alike, here, us four. But we just don't sort of get to talk it out with each other. #1969#sessions: get back#the beatles#john and paul#paul mccartney#the many ways i've tried
amoraltoJanuary 8th, 1969 (Twickenham Film Studios, London): An uneasy Michael Lindsay-Hogg tries to steer the band (or just Paul) back into discussing the logistics of their imminent televised concert and/or television documentary. Paul sings a strain of Carl Perkin's 'Your True Love', and John improvises his own love song.JOHN: You stole into my heart like a creeping nun... My arteries were overwhelmed. MICHAEL: That would be pretty good like as a melody.JOHN: A malady?#1969#sessions: get back#the beatles#michael lindsay hogg
amoraltoJanuary 6th, 1969 (Twickenham Film Studios, London): Paul, more out of desperation than decisiveness, proposes they resolve everyone's conflicting working methods by allowing each one of them have undivided creative direction over their own compositions (which the others would then have to follow). George agrees with this solution, but John (having always had a more instinctive approach, as opposed to building songs brick by deliberate brick) suggests they continue to improvise. Paul briefly muses about the metaphysical nature of this discord.PAUL: [inaudible; drowned out by guitar] —of seeing yourself nearly go round a past you've been down too many times, you know I go down it, you know, like us going on about this. I really don't want to go back to that. And it's just silly. And I just can't think of any solution out of here. The problem is that we should all arrange our own tunes, and if you want improvisation, then we should just say, you know, right, and—GEORGE: That's the best way. PAUL: —and we improvise here. But look, it puts on much more work on each one of us, then, because then you've got to work out my bassline. JOHN: I'd say improvise it, like. PAUL: Yeah. [laughs bleakly] It's like a bunch of theories, isn't it? It's like, it's not just to do with playing music, this. It's far further reaching, this sort of – this thing, you know. GEORGE: It's always the far reaching end of it. It stems from the mad thing they call— [audio cuts off] #1969#sessions: get back#the beatles#paul mccartney#the many ways i've tried
amoraltoJanuary 13th, 1969 (Twickenham Film Studios, London): After waiting for John (and Yoko) to arrive for over an hour, Neil Aspinall returns to inform Paul that their continued attempts to call John have been unsuccessful. This prompts filmmaker Michael Lindsay-Hogg to make an uncharitable joke about removing Yoko to solve John's unresponsiveness (John letting Yoko speak for him even during band meetings being one of the topics Paul, Linda, Neil, Ringo, and Michael have been discussing all morning). Paul wonders darkly if John has followed George's example and gone on strike. (Note: Follows directly after this audio clip.) NEIL: Mal's trying to ring him. PAUL: Yeah?NEIL: We found [the phone] engaged. PAUL: Found engaged?NEIL: [inaudible] —they have it off the hook. PAUL: Mm.RINGO: Send him a telegram.LINDA: Tell him [Paul]'s on pins and needles, wondering what's happened to him. [Paul laughs bleakly] Yeah, I thought of that last night, sending him a telegram. MICHAEL: Did anybody speak to him last night? Does that—NEIL: No, it was the same last night. MICHAEL: Maybe if [Yoko] stayed in the black bag, that would count as— [inaudible; drowned out by voice marking tape slate] But not talking. [laughs] Putting that lid on the parrot's cage. [long pause; Paul whistling; Michael sighing]PAUL: ... And then there were two. [laughs]#1969#sessions: get back#the beatles#john and paul#neil aspinall#michael lindsay hogg#abstract threats
amoraltoI've finally updated my Get Back/Let It Be sessions masterpost to accommodate for the recent spate of posts I've been making, so do have a look if you're interested and/or new to the blog! Everything is listed in chronological order. I'm currently going over and revising a few years-old transcriptions that I've inexplicably left unposted all this time, so I should be posting more audio clips and transcripts over the next few days.#admin
amoraltoJanuary 6th, 1969 (Twickenham Film Studios, London): Paul and George have a fraught and ultimately sad exchange about responsibilities, expectations, and means to ends, with John in the uncommon role as mediator trying to move the sessions along. An increasingly anxious and self-conscious Paul is aware of his own tendency to direct the rehearsals but confesses himself at a loss for any other way to keep everyone productive, in tune, and in pace with their looming deadline without encroaching on everyone else's egos, emotions, and individual working methods. George capitulates, contends his inability to conform to their current circumstances with Paul's inability to compromise, and wonders despondently if Paul even knows what he really wants (for this project, for the group and its individual members, or for himself). (Note: This is the third part of a series breaking down that Paul and George argument in the Let It Be film documentary. The dialogue that was eventually edited into the scene as depicted in the film is highlighted in bold. First part, second part.) PAUL: You see, we're really – we're gonna have to sorta bring it together, because we're all at odds, we're doing that thing we did on The Beatles, we're all playing, you know, like... [incoherent] Like in this verse, it's two harmonies singing, trying to say some words, right. So like you know, you can just, duh duh dun... ch cha. And in the bits, when we need bits, we're not— JOHN: Yeah I know the bits. I'm just trying to sing it, and do it through.PAUL: [plays] You know what I mean? We've got to get riffs, when the riff bits come up.GEORGE: The riffs. Uh, there's no riffs. I mean, it's nice to get – just to get what you're playing— PAUL: No, but it's just, look – you see, "you and I", uh – on— GEORGE: You and I, our memories... PAUL: Uh, but it's not – it's not together, you see, so it's not sounding together. Even on—GEORGE: So we can only play until we – until we can find the bit— PAUL: Or we can stop and say it's not together.GEORGE: Yes, then you've got to carry on until we get it together. So I mean, that's all, that's all I can do is play— PAUL: Okay. Well, I, you know— GEORGE: —until it sounds as though it's blending with the rest—PAUL: I never know what to say to that, you know, 'cause what I want to say is now come on, and play... you know.GEORGE: Yes, I know.PAUL: But I can't, you know, because we get into that line. GEORGE: It does.PAUL: Okay. [laughs nervously] So, here we go. [starts playing] You know, I mean, well. Tell us something about that. I can't make it beyond that. It's like, it's – it's complicated now. So. See, if we can get simpler, and then complicate it where it needs complications, but it's complicated in the bit— GEORGE: It's not complicated. I'm just gonna—PAUL: I know, but I mean – you know. GEORGE: I mean, I'll play just the chords, if you'll like, and— PAUL: [hushed] No, come on, you always get like—GEORGE: —and then – but that's all I'm trying to do—PAUL: [anxious] You always get annoyed when I say that. I'm – I'm trying to help, you know, but I always hear myself annoying you, and I'm trying to—GEORGE: No, you're not annoying me.PAUL: —I get so I can't say—GEORGE: [acquiescent] You don't annoy me [anymore?]. PAUL: But you know what I mean. You know, well, do this, then. [plays] And then... I don't know. [long pause] Yeah. I can't do it on film, either. [laughs; bleak] I don't know if I can do it on camera. [long silence; guitar playing]さらに読む#1969#sessions: get back#the beatles#paul and george#john and george#john and paul#the many ways i've tried
amoraltoJanuary 6th, 1969 (Twickenham Film Studios, London): In a discussion with John, Paul acknowledges the reluctant leadership role in the band he's found himself in for the past few years and worries how the convergence of anxiety and authority in his direction may be hurting the group as a whole. John tries to reassure him otherwise, and George tries to meet him.GEORGE: But that's like, I've learnt that bit, and I'm trying to – I'm trying to take that – those chords along with it...PAUL: [inaudible; drowned out by George's voice] I'm not trying to – I only want to ask you. You know.JOHN: I think, it's your song. And you've gotta— [inaudible] —gotta have it exactly how he wants to do it, you know. If you say, "Don't play that, play that," it's up to you, you know. You sort of take it. 'Cause it's your scene. If somebody's gonna ask for [inaudible], it's his song. PAUL: But now I – now I'm scared of that. To be the boss. And I – and I have been, for like, uh, a couple of years. And we all have, you know. There's no pretending about that. JOHN: Yeah I know, but – but this—PAUL: And no one is [the boss]. That is what we decided, you know. And no one is—JOHN: But it's all in—PAUL: And no one's – you know how rush— [audio cuts off] —and this is why, you know, it's chaos—GEORGE: You don't boss out on us. It's fine.PAUL: Until it sort of... That's why we take so long! Because, really, you know, and we get sort of – so that's the thing. We can play it shitty and all. I – I think we can play it shitty like ten times, so it's sort of in there, and then I think we can kind of play it quite good, then. But it's only – I don't know, it's just like different approaches, you know. I think we'd be better just learn, just doing it all, like uh, you know, the Red Norvo Five. Just really, like, uh—GEORGE: Vamping away. PAUL: Vamping, sort of efficient vamping, really, you know, and then get the imaginative thing. You know. [pauses] But anyway, I know it's impossible for us to go like – because we can't get into the moment, 'cause you don't do it like that, and— [plays riff]GEORGE: I know, and I'm trying, but— [plays]PAUL: No no no I mean, just, generally... [John sings 'Two Of Us' under his breath] It's like when you've been trying to get me to do it and I do it. And that's how I do it, but that's not how you do it. [everyone plays]JOHN: [laughs; stops playing] See, I suppose that's how they do it.#1969#sessions: get back#the beatles#john and paul#paul and george#paul mccartney#the many ways i've tried
amoraltoJanuary 6th, 1969 (Twickenham Film Studios, London): John offhandedly asks if he's supposed to sing on 'Two Of Us', prompting Paul to run through the song sharing vocals with John for the first time.JOHN: Am I singing on this, or what?PAUL: I don't know, really. [pause] Melody. Two of us... You have to remember the words too.JOHN: Yes, I've got 'em here.PAUL: Well, learn 'em.JOHN: Yeah. [pause] I almost know 'em.#1969#sessions: get back#the beatles#john and paul#music#oh john#in spite of you
0 件のコメント:
コメントを投稿