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The Beatles, album "The Beatles at the Hollywood Bowl"

Lyrics of the album - Listen the album

Rare albums - Studio Capitol Records - 1977
stereo: 04.05.1977

The Beatles at the Hollywood Bowl

  1. 01:33 Twist And Shout (Bert Russell and Phil Medley) - Remastered - 04.11.1963

    JOHN 1963: 'I always hate singing the song, 'Twist And Shout' when there's a colored artist on the bill with us.
    It doesn't seem right, you know.
    I feel sort of embarrassed… It makes me curl up.
    I always feel they could do the song much better than me.'

    JOHN 1971: 'The more interesting songs to me were the black ones because they were more simple.
    They sort of said shake-your-arse, or your prick, which was an innovation really.
    The blacks were singing directly and immediately about their pain, and also about sex, which is why I like it.'

    JOHN 1976: 'The last song nearly killed me.
    My voice wasn't the same for a long time after – everytime I swallowed it was like sandpaper.
    I was always bitterly ashamed of it because I could sing it better than that, but now it doesn't bother me.
    You can hear I'm just a frantic guy doing his best.'

    PAUL 1988: 'There's a power in John's voice there that certainly hasn't been equaled since.
    And I know exactly why – It's because he worked his bollocks off that day.
    We left 'Twist And Shout' until the very last thing because we knew there was one take.'

    RINGO 1994: 'We started (recording the album) about noon and finished it at midnight, with John being really hoarse by 'Twist And Shout.''

  2. 03:12 She's a Woman (Paul McCartney – John Lennon and Paul McCartney) - Remastered - 08.10.1964

    JOHN 1980: 'That's Paul with some contribution from me on lines, probably.
    We put in the words 'turns me on.'
    We were so excited to say 'turn me on' – you know, about marijuana and all that… using it as an expression.'

    PAUL circa-1994: 'This was my attempt at a bluesy thing… instead of doing a Little Richard song, whom I admire greatly, I would use the (vocal) style I would have used for that but put it in one of my own songs.'

  3. 03:39 Dizzy Miss Lizzy (Larry Williams) - Remastered - 10.05.1965

  4. 02:26 Ticket to Ride (John Lennon and Paul McCartney) - Remastered - 01.08.1965

    GEORGE 1965: 'We are always worried with each record.
    With 'Ticket To Ride' we were even more worried.
    There's bound to be a time when we come in at 19 (on the charts).
    But this 'number one' business doesn't seem to stop – great while it lasts – but now we'll have to start all over again and people will start predicting funny things for the next one.'

    JOHN 1970: 'It's a heavy record, and the drums are heavy too.
    That's why I like it.'

    JOHN 1980: 'That was one of the earliest heavy-metal records made.
    Paul's contribution was the way Ringo played the drums.'

    PAUL circa-1994: 'I think the interesting thing is the crazy ending – instead of ending like the previous verse, we changed the tempo.
    We picked up one of the lines, 'My baby don't care,' but completely altered the melody.
    We almost invented the idea of a new bit of a song on the fade-out with this song… It was quite radical at the time.'

  5. 02:14 Can't Buy Me Love (Paul McCartney – John Lennon and Paul McCartney) - Remastered - 10.03.1964

    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.'

  6. 02:18 Things We Said Today (Paul McCartney – John Lennon and Paul McCartney) - Remastered - 02.06.1964

    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.'

  7. 02:14 Roll Over Beethoven (Chuck Berry) - Remastered - 03.09.1963

  8. 02:08 Boys (Luther Dixon and Wes Farrell) - Remastered - 11.02.1963

  9. 03:13 A Hard Day's Night (John Lennon – John Lennon and Paul McCartney) - Remastered - 16.04.1964

    RINGO 1964: 'We went to do a job, and we'd worked all day and we happened to work all night.
    I came up still thinking it was day I suppose, and I said, 'It's been a hard day…' and I looked around and saw it was dark so I said, '…night!' So we came to 'A Hard Day's Night.''

    JOHN 1980: 'I was going home in the car and Dick Lester suggested the title, 'Hard Day's Night' from something Ringo had said.
    I had used it in 'In His Own Write,' but it was an off-the-cuff remark by Ringo.
    You know, one of those malapropisms.
    A Ringo-ism, where he said it not to be funny… just said it.
    So Dick Lester said, 'We are going to use that title.' And the next morning I brought in the song… 'cuz there was a little competition between Paul and I as to who got the A-side – who got the hits.
    If you notice, in the early days the majority of singles, in the movies and everything, were mine… in the early period I'm dominating the group.
    The only reason he sang on 'A Hard Day's Night' was because I couldn't reach the notes.
    (sings) 'When I'm home/ everything seems to be right/ when I'm home…' – which is what we'd do sometimes.
    One of us couldn't reach a note but he wanted a different sound, so he'd get the other to do the harmony.'

    PAUL circa-1994: 'The title was Ringo's.
    We'd almost finished making the film, and this fun bit arrived that we'd not known about before, which was naming the film.
    So we were sitting around at Twickenham studios having a little brain-storming session… and we said, 'Well, there was something Ringo said the other day.' Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical… they were sort of magic even though he was just getting it wrong.
    And he said after a concert, 'Phew, it's been a hard day's night.''

  10. 02:52 Help! (John Lennon and Paul McCartney) - Remastered - 13.04.1965

    JOHN 1965: 'We think it's one of the best we've written.'

    JOHN 1980: 'The whole Beatle thing was just beyond comprehension.
    When 'Help' came out, I was actually crying out for help.
    Most people think it's just a fast rock 'n roll song.
    I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie.
    But later, I knew I really was crying out for help.
    So it was my fat Elvis period.
    You see the movie: He – I – is very fat, very insecure, and he's completely lost himself.
    And I am singing about when I was so much younger and all the rest, looking back at how easy it was.
    Now I may be very positive… yes, yes… but I also go through deep depressions where I would like to jump out the window, you know.
    It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little.
    Anyway, I was fat and depressed and I was crying out for help.'

    PAUL 1984: 'John wrote that… well, John and I wrote it at his house in Weybridge for the film.
    I think the title was out of desperation.'

  11. 02:15 All My Loving (Paul McCartney – John Lennon and Paul McCartney) - Remastered - 30.07.1963

    JOHN 1972: 'This was one of his first biggies.'

    JOHN 1980: ''All My Loving' is Paul, I regret to say.
    Because it's a damn fine piece of work.
    But I play a pretty mean guitar in back.'

    PAUL 1984: 'Yeah, I wrote that one.
    It was the first song I ever wrote where I had the words before the music.
    I wrote the words on a bus on tour, then we got the tune when I arrived there.
    The first time I've ever worked upside down.'

    PAUL 1988: 'I think that was the first song where I wrote the words without the tune.
    I wrote the words on the tour bus during our tour with Roy Orbison.
    We did alot of writing then.'

    PAUL circa-1994: 'It was a good show song.
    It worked well live.'

  12. 03:11 She Loves You (John Lennon and Paul McCartney) - Remastered - 04.11.1963

    JOHN 1963: 'We wrote that two days before we recorded it, actually.'

    PAUL 1963: 'John and I wrote it together.
    We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel.
    I originally got an idea of doing one of those answering songs, where a couple of us sing about 'she loves you' …and the other one sort of says the 'yes, yes' bit.
    You know, 'yeah yeah' answering whoever is saying it.
    But we decided that was a crummy idea anyway.
    But we had the idea to write a song called 'She Loves You' then.
    And we just sat up in the hotel bedroom for a few hours and wrote it, you know.'

    JOHN 1963: ''Yeah.' That's sort of the main catch phrase from 'She Loves You.' We'd written the song, and then suddenly realized we needed more… so we added 'yeah, yeah, yeah' and it caught on.'

    JOHN 1980: 'It was written together (with Paul) and I don't remember how.
    I remember it was Paul's idea – instead of singing 'I love you' again, we'd have a third party.
    The 'Woooo' was taken from the Isley Brothers 'Twist And Shout,' which we stuck into everything.'

    PAUL 1982: 'Occasionally, we'd overrule George Martin, like on 'She Loves You,' we end on a sixth chord, a very jazzy sort of thing.
    And he said, 'Oh, you can't do that! A sixth chord? It's too jazzy.'
    We just said, 'No, it's a great hook, we've got to do it.''

    PAUL 1988: 'We rehearsed the end bit of 'She Loves You' and took it to George.
    And he just laughed and said, 'Well, you can't do the end of course… that sixth… it's too like the Andrew Sisters.' We just said, 'Alright, we'll try it without,' and we tried it and it wasn't as good.
    Then he conceded, 'You're right, I guess.' But we were both very flexible.
    We would listen to George's ideas too, because he was a producer and a musician, and he obviously knew what he was talking about.
    There was good to-and-fro.
    We loved that bit, and we rehearsed it alot.
    John and I wrote that in a hotel room, on twin beds during an afternoon off – I mean, God bless their little cotton socks, those boys WORKED! Here I am talking about an afternoon off, and we're sitting there writing! We just loved it so much.
    It wasn't work.'

  13. 02:04 Long Tall Sally (Richard Penniman, Enotris Johnson and Robert Blackwell) - Remastered - 01.03.1964

  14. 02:34 You Can't Do That (John Lennon – John Lennon and Paul McCartney) - Bonus Track - 16.07.1964

    JOHN 1964: 'I'd find it a drag to play rhythm all the time, so I always work myself out something interesting to play.
    The best example I can think of is like I did on 'You Can't Do That.' There really isn't a lead guitarist and a rhythm guitarist on that, because I feel the rhythm guitarist role sounds too thin for records.
    Anyway it drove me potty to play chunk-chunk rhythm all the time.
    I never play anything as lead guitarist that George couldn't do better.
    But I like playing lead sometimes, so I do it.'

    JOHN 1980: 'That's me doing Wilson Pickett.
    You know, a cowbell going four-in-the bar, and the chord going 'chatoong!''

  15. 02:29 I Want to Hold Your Hand (John Lennon and Paul McCartney) - Bonus Track - 02.12.1963

    PAUL 1964: 'Let's see, we were told we had to get down to it.
    So we found this house when we were walking along one day.
    We knew we had to really get this song going, so we got down in the basement of this disused house and there was an old piano.
    It wasn't really disused, it was rooms to let.
    We found this old piano and started banging away.
    There was a little old organ too.
    So we were having this informal jam and we started banging away.
    Suddenly a little bit came to us, the catch line.
    So we started working on it from there.
    We got our pens and paper out and just wrote down the lyrics.
    Eventually, we had some sort of a song, so we played it for our recording manager and he seemed to like it.
    We recorded it the next day.'

    JOHN 1980: 'We wrote alot of stuff together, one on one, eyeball to eyeball.
    Like in 'I Want To Hold Your Hand,' I remember when we got the chord that made the song.
    We were in Jane Asher's house, downstairs in the cellar playing on the piano at the same time.
    And we had, 'Oh you-u-u/ got that something…' And Paul hits this chord, and I turn to him and say, 'That's it!' I said, 'Do that again!' In those days, we really used to absolutely write like that – both playing into each other's noses.'

    PAUL circa-1994: ''Eyeball to eyeball' is a very good description of it.
    That's exactly how it was.
    'I Want To Hold Your Hand' was very co-written.'

  16. 02:21 Everybody's Trying to Be My Baby (Carl Perkins) - Bonus Track - 15.08.1965

  17. 02:44 Baby's In Black (John Lennon and Paul McCartney) - Bonus Track - 11.08.1964

    JOHN 1980: 'Written together in the same room.'

    PAUL circa-1994: 'We wanted to write something a little bit darker, bluesy…
    It was very much co-written and we both sang it.
    Sometimes the harmony that I was writing in sympathy to John's melody would take over and become a stronger melody…
    When people wrote out the music score they would ask, 'Which one is the melody?' because it was co-written that you could actually take either.
    We rather liked this one.'


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