The Beatles, album "Tripping the Live Fantastic"
Lyrics of the album -
Listen the albumConcert albums - Studio Hear Music - 1990 stereo: 5.11.1990
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00:38 Showtime (Paul McCartney) - коллаж из звуков за сценой -
05:32 Figure of Eight (Paul McCartney) - 10.11.1989 -
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04:48 Rough Ride (Paul McCartney) - 10.10.1989 -
JOHN 1968: 'We were doing our Tamla Motown bit. You see, we're influenced by whatever's going. Even if we're not influenced, we're all going that way at a certain time.' JOHN 1972: 'I think George and I helped with some of the lyrics. I'm not sure.' JOHN 1980: 'Paul. I think that was one of his best songs, too, because the lyrics are good and I didn't write them. You see? When I say that he could write lyrics if he took the effort – here's an example.' PAUL 1984: 'That's mine – I wrote it. It was the first one we used brass on, I think. One of the first times we used soul trumpets.' PAUL circa-1994: 'I'd been a rather straight working class lad, but when we started to get into pot it seemed to me to be quite uplifting. It didn't seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. I kind of liked marijuana and to me it seemed it was mind-expanding, literally mind-expanding. So 'Got To Get You Into My Life' is really a song about that. It's not to a person, it's actually about pot. It's saying, 'I'm going to do this. This is not a bad idea.' So it's actually an ode to pot, like someone else might write an ode to chocolate or a good claret. I haven't really changed my opinion too much, except if anyone asks me for real advice, it would be stay straight. That is actually the best way, but in a stressful world I still would say that pot was one of the best of the tranquilizing drugs. I have drunk and smoked pot and of the two I think pot is less harmful. People tend to fall asleep on it rather than go out and commit murder, so it's always seemed to me to be a rather benign one.' -
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PAUL 1968: 'What happened was 'The Girl Can't Help It' was on television. That's an old rock film with Little Richard and Fats Domino and Eddie Cochran and a few others… and we wanted to see it, so we started recording at five o'clock. And we said, 'We'll do something, We'll make up a backing track.' So we kept it very simple – twelve bar blues kind of thing. And we stuck in a few bits here and there in it, with no idea what the song was or what was gonna go on top of it. We just said, 'Okay. Twelve bars in A, and we'll change to D, and I'm gonna do a few beats in C.' And we really just did it like that… random thing. And we came back here to my house and watched 'The Girl Can't Help It.' Then we went back to the studio again and made up some words to go with it all. So this song was just made up in an evening. Umm, you know. We hadn't ever thought of it before then. And it's one of my favorites because of that. I think it works, you know, 'cuz it's just… It's a good one to dance to. Like the big long drum break, just 'cuz, normally we might have four bars of drums, but with this we just keep it going, you know. We all like to hear drums plodding on.' JOHN 1972: 'Both of us (wrote it.)' JOHN 1980: ''Birthday' was written in the studio. Just made up on the spot. I think Paul wanted to write a song like 'Happy Birthday Baby,' the old fifties hit. But it was sort of made up in the studio. It was a piece of garbage.' PAUL circa-1994: 'We thought, 'Why not make something up?' So we got a riff going and arranged it around this riff. So that is 50-50 John and me, made up on the spot and recorded all in the same evening.' -
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06:38 We Got Married (Paul McCartney) - 16.01.1990 -
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04:41 Maybe I'm Amazed (Paul McCartney) - 08.11.1989 -
PAUL 1970: 'The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks. But a few weeks ago, I was sent a re-mixed version of my song 'The Long And Winding Road' with harps, horns, an orchestra, and a women's choir added. No one had asked me what I thought. I couldn't believe it. The record came with a note from Allen Klein saying he thought the changes were necessary. I don't blame Phil Spector for doing it, but it just goes to show that it's no good me sitting here thinking I'm in control because obviously I'm not. Anyway, I've sent Klein a letter asking for some things to be altered, but I haven't received an answer yet.' JOHN 1980: 'Paul again. He had a little spurt just before we split.' PAUL circa-1994: 'It's rather a sad song. I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it. It's a good vehicle, it saves having to go to a psychiatrist. Songwriting often performs that feat – you say it, but you don't embarrass yourself because it's only a song, or is it? You are putting the things that are bothering you on the table and you are reviewing them, but because it's a song, you don't have to argue with anyone… It's a sad song because it's all about the unattainable; the door you never quite reach. This is the road that you never get to the end of.' -
00:49 Crackin' Up (Ellas McDaniel) - 23.11.1989 -
JOHN 1980: 'Now that's Paul. Another good lyric. Shows he's capable of writing complete songs.' PAUL circa-1994: ''Fool On The Hill' was mine and I think I was writing about someone like the Maharishi. His detractors called him a fool. Because of his giggle he wasn't taken too seriously… I was sitting at the piano at my father's house in Liverpool hitting a D6 chord, and I made up 'Fool On The Hill.'' -
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JOHN 1972: 'John and Paul, but mainly Paul.' JOHN 1980: 'That's Paul completely. Maybe I had something to do with the chorus, but I don't know. I always considered it his song.' PAUL 1984: 'We recorded it in France, as I recall. Went over to the Odeon in Paris. Recorded it over there. Felt proud because Ella Fitzgerald recorded it, too, though we didn't realize what it meant that she was doing it.' PAUL circa-1994: ''Can't Buy Me Love' is my attempt to write a bluesy mode. The idea behind it was that all these material possessions are all very well but they won't buy me what I really want.' -
RINGO 1964: 'I'm featured on it.
Actually it was written by Carl Perkins about six years ago.
Carl came to the session.
I felt very embarrassed.
I did it just two days before I went in the hospital (with tonsilitis) so please forgive my throat.' -
02:43 Put It There (Paul McCartney) - 28.09.1989 -
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JOHN 1980: 'Paul's. Good song.' PAUL circa-1994: 'I wrote 'Things We Said Today' on acoustic (guitar). It was a slightly nostalgic thing already, a future nostalgia: we'll remember the things we said today, sometime in the future, so the song projects itself into the future and then is nostalgic about the moment we're living now, which is quite a good trick.' -
PAUL 1966: 'I was sitting at the piano when I thought of it. The first few bars just came to me, and I got this name in my head… Daisy Hawkins picks up the rice in the church. I don't know why. I couldn't think of much more so I put it away for a day. Then the name Father McCartney came to me, and all the lonely people. But I thought that people would think it was supposed to be about my Dad sitting knitting his socks. Dad's a happy lad. So I went through the telephone book and I got the name McKenzie. I was in Bristol when I decided Daisy Hawkins wasn't a good name. I walked 'round looking at the shops, and I saw the name Rigby. Then I took the song down to John's house in Weybridge. We sat around, laughing, got stoned and finished it off.' JOHN 1980: 'Paul's baby, and I helped with the education of the child… The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good.' PAUL 1984: 'I got the name Rigby from a shop in Bristol. I was wandering round Bristol one day and saw a shop called Rigby. And I think Eleanor was from Eleanor Bron, the actress we worked with in the film 'Help!' But I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural.' -
04:28 This One (Paul McCartney) - 01.02.1990 -
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PAUL 1968: 'Chuck Berry once did a song called 'Back In The USA,' which is very American, very Chuck Berry. Very sort of, uhh… you know, you're serving in the army, and when I get back home I'm gonna kiss the ground. And you know – Can't wait to get back to the States. And it's a very American sort of thing, I've always thought. So this one is like about… In my mind it's just about a spy who's been in America a long long time, you know, and he's picked up… And he's very American. But he gets back to the USSR, you know, and he's sort of saying, 'Leave it till tomorrow, honey, to disconnect the phone,' and all that. And 'Come here honey,' but with Russian women. It concerns the attributes of Russian women.' JOHN 1980: 'Paul completely. I play the six-string bass on that.' PAUL 1984: 'I wrote that as a kind of Beach Boys parody. And 'Back in the USA' was a Chuck Berry song, so it kinda took off from there. I just liked the idea of Georgia girls and talking about places like the Ukraine as if they were California, you know? It was also hands across the water, which I'm still conscious of. 'Cuz they like us out there, even though the bosses in the Krelmin may not. The kids do.' PAUL 1986: 'I'm sure it pissed Ringo off when he couldn't quite get the drums to 'Back In The U.S.S.R.' and I sat in. It's very weird to know that you can do a thing someone else is having trouble with. If you go down and do it, just bluff right through it, you think, 'What the hell, at least I'm helping.' Then the paranoia comes in – 'But I'm going to show him up!' I was very sensitive to that.' -
JOHN 1980: 'That's Paul doing his usual job of producing what George Martin used to call a 'potboiler.' I helped with a couple of the lyrics.' PAUL 1988: 'I wrote it with John. We sagged off school and wrote it on guitars. I remember I had the lyrics, 'Just seventeen/Never been a beauty queen,' which John… it was one of the first times he ever went, 'What? Must change that!' And it became, 'you know what I mean.'' PAUL circa-1994: 'Sometimes we would just start a song from scratch, but one of us would nearly always have a germ of an idea, a title, or a rough little thing they were thinking about and we'd do it. 'I Saw Her Standing There' was my original. I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key. It gave you the subject matter, alot of information, and then you had to fill in. So it was co-written… and we finished it that day. -
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05:18 Coming Up (Paul McCartney) - 03.03.1990 -
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03:53 Let It Be (Paul McCartney – John Lennon and Paul McCartney) - 14.04.1990JOHN 1980: 'That's Paul… I think it was inspired by 'Bridge Over Troubled Water.' That's my feeling, although I have nothing to go on. I know he wanted to write a 'Bridge Over Troubled Water.'' PAUL 1986: 'I had alot of bad times in the '60s. We used to lie in bed and wonder what was going on and feel quite paranoid. Probably all the drugs. I had a dream one night about my mother. She died when I was fourteen so I hadn't really heard from her in quite a while, and it was very good. It gave me some strength.' PAUL circa-1994: 'One night during this tense time I had a dream I saw my mum, who'd been dead ten years or so. And it was great to see her because that's a wonderful thing about dreams, you actually are reunited with that person for a second… In the dream she said, 'It'll be alright.' I'm not sure if she used the words 'Let it be' but that was the gist of her advice, it was 'Don't worry too much, it will turn out okay.' It was such a sweet dream I woke up thinking, 'Oh, it was really great to visit with her again.' I felt very blessed to have that dream.' -
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08:03 Hey Jude (Paul McCartney – John Lennon and Paul McCartney) - 12.02.1990JOHN 1968: 'Well, when Paul first sang 'Hey Jude' to me… or played me the little tape he'd made of it… I took it very personally. 'Ah, it's me,' I said, 'It's me.' He says, 'No, it's me.' I said, 'Check. We're going through the same bit.' So we all are. Whoever is going through a bit with us is going through it, that's the groove.' JOHN 1972: 'That's his best song.' PAUL 1974: 'I remember I played it to John and Yoko, and I was saying, 'These words won't be on the finished version.' Some of the words were: 'The movement you need is on your shoulder,' and John was saying, 'It's great!' I'm saying, 'It's crazy, it doesn't make any sense at all.' He's saying, 'Sure it does, it's great.'' JOHN 1980: 'He said it was written about Julian. He knew I was splitting with Cyn and leaving Julian then. He was driving to see Julian to say hello. He had been like an uncle. And he came up with 'Hey Jude.' But I always heard it as a song to me. Now I'm sounding like one of those fans reading things into it… Think about it: Yoko had just come into the picture. He is saying. 'Hey, Jude' – 'Hey, John.' Subconsciously, he was saying, 'Go ahead, leave me.' On a conscious level, he didn't want me to go ahead. The angel in him was saying, 'Bless you.' The devil in him didn't like it at all, because he didn't want to lose his partner.' PAUL 1985: 'I remember on 'Hey Jude' telling George not to play guitar. He wanted to do echo riffs after the vocal phrases, which I didn't think was appropriate. He didn't see it like that, and it was a bit of a number for me to have to 'dare' to tell George Harrison – who's one of the greats – not to play. It was like an insult. But that's how we did alot of our stuff.' PAUL circa-1994: 'There is an amusing story about recording it… Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take – and 'Hey Jude' goes on for hours before the drums come in – and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums. And just as he got to his drums, boom boom boom, his timing was absolutely impeccable.' -
02:06 Yesterday (Paul McCartney – John Lennon and Paul McCartney) - 09.02.1990 -
04:11 Get Back (Paul McCartney – John Lennon and Paul McCartney) - 13.03.1990PAUL 1969: 'We were sitting in the studio and we made it up out of thin air. We started to write words there and then… When we finished it, we recorded it at Apple Studios and made it into a song to rollercoast by.' JOHN 1980: ''Get Back' is Paul. That's a better version of 'Lady Madonna.' You know, a potboiler rewrite.' -
06:41 Golden Slumbers/Carry That Weight/The End (John Lennon and Paul McCartney) - Medley - 07.12.1989 -
04:31 Don't Let the Sun Catch You Crying (Joe Greene) - 09.12.1989
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