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sábado, 12 de enero de 2008
Helter Skelter
Documento fotográfico y filmográfico de The Beatles durante la grabación del Album Blanco
Sexy Sadie
Coyright - 1968 EMI Records Ltd.
Sexy Sadie" is the name of a song by The Beatles, written by John Lennon and Paul McCartney in India.
Originally titled "Maharishi", the Beatles changed the title to "Sexy Sadie" to avoid the potential for litigation as the song's lyrics portray the Maharishi Mahesh Yogi in a less than favourable light. Lennon became discouraged after the Maharishi had allegedly made a pass at one of the female members of their entourage. Lennon once said of the song: "That was inspired by Maharishi. I wrote it when we had our bags packed and were leaving. It was the last piece I wrote before I left India. I just called him, 'Sexy Sadie,' instead of (sings) 'Maharishi what have you done, you made a fool...' I was just using the situation to write a song, rather calculatingly but also to express what I felt. I was leaving the Maharishi with a bad taste. You know, it seems that my partings are always not as nice as I'd like them to be."
In a 1969 interview, John Lennon stated one of his favourite songs was "I've Been Good To You" by Smokey Robinson & The Miracles. The Miracles song begins with the line Look what you've done / You made a fool out of someone, compared to Sexy Sadie's What have you done? / You made a fool of everyone.
Influence
The Spanish band Sexy Sadie took their name from this song.
As described in Vincent Bugliosi's Helter Skelter, Charles Manson took the title of this song as a reference to Manson Family member Susan Atkins, who was nicknamed Sadie Mae Glutz, prior to the release of the White Album.
Songs deemed similar to "Sexy Sadie" include Australian rock group Jet's "Look What You've Done", which has similar (occasionally identical) lyrics and style to the song. Oasis lifts a remarkably similar intro on their b-side, "Sitting Here In Silence (On My Own)." Also, Jack Johnson's song, "Cocoon" (from the On and On album), is strikingly similar to this song and parts of the piano are similar to Radiohead's song "Karma Police", and the band has apparently acknowledged the similarity.
Lyrics:
Sexy Sadie what have you done
You made a fool of everyone
You made a fool of everyone
Sexy Sadie, ooh, what have you done
Sexy Sadie you broke the rules
You laid it down for all to see
You laid it down for all to see
Sexy Sadie, ooh, you broke the rules
One sunny day the world was waiting for a lover
She came along to turn on everyone
Sexy Sadie the greatest of them all
Sexy Sadie how did you know
The world was waiting just for you
The world was waiting just for you
Sexy Sadie, ooh, how did you know
Sexy Sadie you'll get yours yet
However big you think you are
However big you think you are
Sexy Sadie, ooh, you'll get yours yet
We gave her everything we owned
just to sit at her table
Just a smile would lighten everything
Sexy Sadie she's the latest
and the greatest of them all
Ha, She made a fool of everyone
Sexy Sadie
Ha, However big you think you are
Sexy Sadie
Mother Nature's Son
Copyright - 1968 EMI Records Ltd.
"Mother Nature's Son" is a Lennon/McCartney song, released by The Beatles on The Beatles (The White Album). It was written primarily by Paul McCartney, with some assistance from John Lennon, and inspired by a lecture given by the Maharishi Mahesh Yogi while The Beatles were in India. The same lecture inspired Lennon's unreleased song "Child of Nature," the tune of which he later re-used for "Jealous Guy."
Recorded 9 August 1968
Lyrics:
Born a poor young country boy
Mother Nature's Son
All day long I'm sitting
singing songs for every one
Sit beside a mountain stream
See her waters rise
Listen to the pretty
sound of music as she flies
tu tu tu, tu, du tu
Find me in my field of grass
Mother Nature's Son
swaying daisies sing
a lazy song beneath the sun
tu tu, yeah yeah yeah
Ooo
Ooo
Ah, Mother Nature's Son
Birthday
Copyright - 1968 EMI Records Ltd.
"Birthday" is a song written by John Lennon and Paul McCartney and performed by the The Beatles on The White Album. It is the opening track on the "third side" of the LP (or the second disc in CD versions of the record). This song is a prime example of the Beatles' return to more traditional rock and roll form, although their music had increased in complexity and it had developed more of its own characteristic style by this point.
"Birthday" begins with a blues progression in A (in the form of a guitar riff doubled by the bass) with McCartney singing at the top of his chest voice, "They say it's your birthday/ Well it's my birthday too, yeah!" Afterwards, a drum break lasting eight measures brings the song into Lennon's section, which rests entirely on the dominant before returning to a third section, sung by McCartney. It is among the latter's most intense vocal performances given the range in which he sings during the blues run. The female backing vocals that sing the "birthday" were performed by Yoko Ono, Linda Eastman and Patti Harrison.
Recorded 18 September 1968
Wikipedia
Lyrics:
You say it's your birthday.
It's my birthday too -- yeah.
They say it's your birthday.
We're gonna have a good time.
I'm glad it's your birthday
Happy birthday to you.
Yes we're going to party party
Yes we're going to party party
Yes we're going to party party.
I would like you to dance -- Birthday
Take a cha-cha-cha-chance -- Birthday
I would like you to dance -- Birthday dance
You say it's your birthday.
It's my birthday too -- yeah.
You say it's your birthday.
We're gonna have a good time.
I'm glad it's your birthday
Happy birthday to you.
Julia
Copyright - 1968 EMI Records Ltd.
"Julia" is a song by The Beatles. It is the final song on side two (and disc one, in the CD era) of the band's 1968 album, The Beatles (often called The White Album).
Origins
"Julia" was written by John Lennon, and features Lennon on vocals and acoustic guitar. It was written during the Beatles' 1968 visit to India, where they were studying under the Maharishi Mahesh Yogi. It was here Lennon learned the song's finger-picking guitar style (known as 'Travis-picking') from the Scottish musician Donovan. No other Beatle sings or plays on the recording. While Paul McCartney made several "solo" compositions attributed to the group, dating back to his famous song "Yesterday", this is the only time that Lennon played and sang unaccompanied on a Beatles track.
"Julia" was written for John's mother Julia Lennon, who was struck and killed by a car driven by an off-duty police officer in 1958. It was also written for his wife Yoko Ono, whose first name, which literally means "child of the sea" in Japanese, is echoed in lyrics such as "Oceanchild, calls me."
The first two lines of the song -- "Half of what I say is meaningless/ But I say it just to reach you, Julia" -- were adapted from the poem "Sand and Foam," by the Lebanese poet Kahlil Gibran. The original line is: "Half of what I say is meaningless; but I say it so that the other half may reach you." The line, "When I cannot sing my heart/I can only speak my mind" is taken from the line, "When life does not find a singer to sing her heart she produces a philosopher to speak her mind," from the same work.
Lyrics:
Half of what I say is meaningless
But I say it just to reach you
Julia,
Julia, Julia
ocean child calls me
So I sing a song of love
Julia
Julia
Seashell eyes, windy smile calls me
So I sing a song of love
Julia
Her hair of floating sky is shimmering
Glimmering in the sun
Julia, Julia
Morning moon touch me
So I sing a song of love
Julia
When I cannot sing my heart
I can only speak my mind
Julia
Julia
Sleeping sand, silent cloud touch me
So I sing a song of love
Julia
Hum, calls me
So I sing a song of love for
Julia, Julia, Julia
Why Don't We Do It in the Road?
Copyright - 1968 EMI Records Ltd.
"Why Don't We Do It in the Road?" is a song by English rock band The Beatles released on their 1968 album The Beatles, commonly referred to as The White Album. It was written and sung by Paul McCartney, but credited, as usual, to Lennon-McCartney. "Why Don't We Do It in the Road?" is short and simple; 1 minute 42 seconds of twelve-bar blues that begins with three different percussion elements (a hand banging on the back of an acoustic guitar, handclaps, and drums) and features McCartney's increasingly raucous vocal repeating a simple lyric with only two different lines.
Inspiration
While on retreat in Rishikesh, India with the Maharishi Mahesh Yogi, McCartney saw two monkeys copulating in the street and marvelled in the simplicity of this natural scenario when compared to the emotional turmoil of human relationships. He later said:
" A male [monkey] just hopped on the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again and looked around as if to say, 'It wasn't me,' and she looked around as if there'd been some mild disturbance ... And I thought ... that's how simple the act of procreation is ... We have horrendous problems with it, and yet animals don't.
Recording
On 9 October 1968, while John Lennon and George Harrison were working on two other songs for the album, McCartney recorded five takes of the song in Studio One at Abbey Road Studios. Unlike its heavy blues result,[5] the song began as an acoustic guitar number with McCartney alternating by verse between gentle and strident vocal styles.[7] On this first night, McCartney played all the instruments himself.[8]
On 10 October, McCartney and Ringo Starr finished the song, Starr adding drums and handclaps, McCartney adding more vocals, bass guitar, and lead guitar.[8] Lennon and Harrison were again occupied, supervising string overdubs for "Piggies" and "Glass Onion."[8]
Lennon's reaction
Lennon was unhappy that McCartney recorded the song without him. In his 1980 interview with Playboy, he said:
Playboy: "Why Don't We Do It In The Road?"
Lennon: That's Paul. He even recorded it by himself in another room. That's how it was getting in those days. We came in and he'd made the whole record. Him drumming. Him playing the piano. Him singing. But he couldn't—he couldn't—maybe he couldn't make the break from the Beatles. I don't know what it was, you know. I enjoyed the track. Still, I can't speak for George, but I was always hurt when Paul would knock something off without involving us. But that's just the way it was then.
Playboy: You never just knocked off a track by yourself?
Lennon: No.
Playboy: "Julia"?
Lennon: That was mine.
"Julia" was recorded four days after the first session for "Why Don't We Do It in the Road?," and is a solo performance by Lennon.
McCartney responded to a Yoko Ono interview where she said McCartney had hurt Lennon more than anyone else, by saying, "No one ever goes on about the times John hurt me ... Could I have hurt him more than the person who ran down his mother in his car?" He then brought up Lennon's comments about "Why Don't We Do It in the Road?": "There's only one incident I can think of that John has mentioned publicly. It was when I went off with Ringo and did 'Why Don't We Do It in the Road'. It wasn't a deliberate thing. John and George were tied up finishing something and me and Ringo were free, just hanging around, so I said to Ringo let's go and do this."
McCartney also expressed some lingering resentment about a similar incident with "Revolution 9", recorded in June 1968, a few months before "Why Don't We Do It in the Road?": "Anyway, he did the same with 'Revolution 9'. He went off and made that without me. No one ever says that. John is the nice guy and I'm the bastard. It gets repeated all the time."
Lyrics:
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
No one will be watching us
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
No one will be watching us
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
Why don't we do it in the road
No one will be watching us
Why don't we do it in the road
Piggies
Copyright - 1968 EMI Records Ltd.
"Piggies" is a Beatles song from double-disc album The Beatles (also known as The White Album). It was written by George Harrison as social commentary on class and corporate greed.
Instrumentation
Piggies features a Baroque-style harpsichord and string quartet — which take an unexpected turn at one point playing a blues riff.
Chris Thomas (producing in George Martin's absence on some of the 'White Album' sessions) played the harpisichord part.
Lyrical Input
Harrison's mother provided the line "What they need's a damn good whacking", and Lennon contributed with the line "clutching forks and knives to eat their bacon"
Alternate Lyrics
There was an additional verse written for the song in 1968 but omitted during the actual recording. It involved the "piggies" playing "piggy pranks" in order to achieve its rhyming couplet of "piggy banks". Harrison reinstated this verse in all live performances of the song in the 1990s. A version can be heard on his double album 'Live in Japan'.
Yeah, everywhere there's lots of piggies
Playing piggy pranks
And you can see them on their trotters
Down at the piggy banks
Paying piggy thanks
To thee pig brother
The original lyrics read "to cut their pork chops" (as heard on the Anthology 3 album). Lennon created the tape loop for the pig noises that were sampled for this song.
Track Placement
"Piggies" is sandwiched between two other songs with animals in their titles ("Blackbird" and "Rocky Raccoon"). This was a deliberate decision on the part of Lennon and McCartney while preparing the sequencing of the songs for the album.
Lyrics:
Have you see the little piggies
crawling in the dirt
And for all the little piggies
Life is getting worse
Always having dirt
to play around in
Have you see the bigger piggies
In their starched white shirts
You will find the bigger piggies
Stirring up the dirt
Always have clean shirts
to play around in
In their sties with all their backing
They don't care what goes on around
In their eyes there's something lacking
What they need's a darn good whacking
Everywhere there's lots of piggies
Living piggy lives
You can see them out for dinner
With their piggy wives
Clutching forks and knives
to eat their bacon
One more time
I'm So Tired
Copyright - 1968 EMI Records Ltd.
"I'm So Tired" is a Beatles song from the double-disc album The Beatles (also known as The White Album).
It was primarily written by John Lennon, though credited to Lennon-McCartney. Lennon wrote the song at a Transcendental Meditation camp when he couldn't sleep. The Beatles had gone on a retreat to study with the Maharishi Mahesh Yogi in Rishikesh, India. After three weeks of constant meditation and lectures, Lennon missed his soon-to-be wife, Yoko Ono, and wrote this song. The fact it was recorded at three in the morning enhances the sentiment.
The song also mentions famed English author and explorer Sir Walter Raleigh by name in an ironic context, calling him a "stupid git" for bringing the tobacco plant to England.
Recording
The song was recorded at Abbey Road on 8 October 1968 and was completed including all overdubs in this one session. The Beatles also started and completed the Lennon-composed 'The Continuing Story of Bungalow Bill' during the same recording session.
Relation to the 'Paul is dead' Hoax
At the end of this song, mumbling can be heard that sounds like "Ssim mih, ssim mihm, ssim mih. Nam ded see lope." When played backwards, some claim a scared voice intones, "Paul is dead, man, miss him, miss him, MISS HIM!" although there have been other claims that on different versions of this song, Lennon can be heard mumbling the words "Monsieur, monsieur, monsieur, how about another one?" The mumbling may be Lennon's attempt at speaking in reverse, without physically reversing the sound.
Lyrics:
I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink
No, no, no
I'm so tired, I don't know what to do
I'm so tired, my mind is set on you
I wonder should I call you but I know what you'd do
You'd say I'm putting you on
But it's no joke
It's doing me harm, you know I can't sleep
I can't stop my brain, you know it's three weeks
I'm going insane
You know I'd give you everything I've got
for a little peace of mind
I'm so tired, I'm feeling so upset
Although I'm so tired, I'll have another cigarette
And curse Sir Walter Raleigh
He was such a stupid get
You'd say I'm putting you on
But it's no joke
It's doing me harm, you know I can't sleep
I can't stop my brain, you know it's three weeks
I'm going insane
You know I'd give you everything I've got
for a little peace of mind
give you everything I've got for a little peace of mind
give you everything I've got for a little peace of mind
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