[00:00.000] 作词 : N/A
[00:00.329] 作曲 : N/A
[00:00.658] T: Hi,
[00:02.712] this is Tony McArthur in London with John Lennon.
[00:04.962] Every time the Beatles release an LP or a single
[00:07.950] the pop music business usually changes direction.
[00:10.462] The change instigated by the latest contribution
[00:13.674] Abbey Road must certainly be noticed.
[00:15.961] In the show John exclusively discusses
[00:18.724] the new Beatles collection track by track!
[00:21.036]
[00:21.674] T: Hi, John(?).
[00:26.288] The first track on LP is the Come Together song
[00:29.658] which is your vocal and
[00:31.882] in fact you wrote the song as well.(J:Yes.)
[00:34.821] I’ve heard it supposedly would be the next American single.
[00:38.575] J: Now, if anything, it might be the B-side
[00:44.741] and I think probably we’ll put Something out
[00:45.776] as single out there.
[00:47.514] I think that’s about the best track on the album,
[00:48.477] the George’s track.
[00:51.727] And they had it... you know how they always
[00:54.540] get our records before they are out over there somehow.
[00:57.138] We’ve got spies in England who send them the tapes.
[00:58.771] And they were playing Something so much
[01:02.521] they had an advanced thing of it,
[01:04.558] a red-hot of thing(?) over there.
[01:06.156] So we’ll probably release it
[01:07.256] over there as an single.
[01:08.444] I don’t know what will happen here.
[01:09.593]
[01:10.243] T: The Come Together side is
[01:12.519] a fairly different song as far as the group’s concerned.
[01:17.058] J: The Come Together track.
[01:19.294] T: Yeah.
[01:19.968] J: I don’t know how that happened y’know.
[01:21.781] I think it’s pretty funky y’know.
[01:24.182] I’m biased cause it’s my song. I dig it, y’know.
[01:27.219] And it just happened well y’know.
[01:31.569] It’s a nice funky song on it.
[01:33.544] T: What was the effect that runs off from the beginning?
[01:36.188] We’re gonna hear it. It runs off from the beginning.
[01:37.328] It’s sort of whistling to ...
[01:39.379] J: Oh it’s me going schhh~shh~ on tape record(?)
[01:43.544] T: And it’s sort of compressed then, is it?
[01:45.779] J: No, it’s not compressed.
[01:46.766] It just sort of goes  Schh~ through my hands like that.
[01:50.331] T: Great. We’ll hear the record now.
[01:53.242] Come Together.
[01:53.959] T: The next track is the one we were talking about
[01:56.543] a moment ago, which is Something.
[01:57.780] And I’m sure I agree that
[01:59.793] both George’s songs on this LP
[02:01.856] were probably the most commercially written.
[02:03.417] Is that a good or bad thing?
[02:05.706] J: I think it’s very good y’know.
[02:07.067] Because they are not sort of the good commercial y’know.
[02:10.319] They are still funky tracks, both of them.
[02:12.518] T: Yes, well. I’d imagine there’ll be
[02:15.569] quite a few cover versions as always,
[02:17.605] y’know, for singles of this LP.  Would it seem...
[02:20.444] J: No, we’ll get the first cover out,
[02:22.280] this is the point y’know,Something . (T:hhh)
[02:23.971] T:That will be (?)  around America.
[02:26.334] J: White Trash(a band?) have just done a...
[02:28.183] Oh, what’s the one?
[02:30.046] Oh, Golden Slumbers,
[02:33.234] from the B-side of the track,
[02:35.479] part of the sort of the medley part,
[02:37.965] so that makes a quite good version.
[02:39.838] Now get plugged in for the White Trash.
[02:41.552] T: Why not? OK, it’s George’s song.
[02:44.714] It’s called Something.
[02:45.313]
[02:45.763] T:Oh this is...
[02:47.098] If you go through the LP from top to bottom,
[02:50.222] it’s Paul’s first contribution,
[02:51.821] Maxwell’s Silver Hammer, which is umm...
[02:53.896] I don’t know,
[02:55.771] it’s fairly typical of a lot of songs Paul’s written.
[02:58.059] John, is it?
[02:58.696] J: Yes. It’s a typical McCartney sing-along,
[03:01.811] whatever you call them.
[03:02.984] He did quite a lot of work on it.
[03:05.872] I was in...
[03:07.784] I was ill after the accident when they did the most of that track.
[03:11.785] And I believe he really ground
[03:14.284] George and Ringo into the ground recording it, y’know.
[03:17.784] T: Now that you’re all obviously occupied in
[03:21.960] diverse fesitive(?) business, y’know.
[03:24.347] Are there any tracks anyone of you
[03:28.448] sort of have done it on your own,
[03:29.870] completely on your own on this LP?
[03:31.221] Or have they been collective efforts?
[03:33.108] J: No, not really. I wasn’t on Maxwell.
[03:34.709] Think I was on everything else, y’know.
[03:37.397] It was just a way for that.
[03:38.833] T: OK. Maxwell’s Silver Hammer, Paul McCartney.
[03:42.334]
[03:42.883] T: It seems, John, that this is a very strong melodic...
[03:45.648] Umm, I thought it always has been, your music.
[03:47.534] But in the context of other music that’s going on today,
[03:50.396] Abbey Road has got a lot of very strong melody lines.
[03:55.198] And I think it’s, probably known as,
[03:57.522] powerful electronic as say, your last LP,
[04:00.834] or the Pepper, I think.
[04:02.308]
[04:02.658] J: You know, maybe, I don’t know, y’know.
[04:05.485] J: ??the end I want here(?）, y’know.
[04:08.060] T: True, oh yeah. J: ??Not really
[04:10.671] T: Yeah. Of course. This track, the next one,
[04:14.746] Oh Darling, is...
[04:15.996] J: Oh yeah, that’s uh...
[04:17.159] T: Sort of 58 job, is it?
[04:18.821] J: Yeah. We like that stuff, y’know.
[04:20.920] Oh Darling~
[04:22.196] T: So this probably ties in with your recent act(?) in Canada,
[04:27.076] or you really got...
[04:28.421] J: I’ve got rock’n’roll revival, oh yeah.
[04:29.221] It was a fantastic scene.
[04:30.872] T: What actually happened there?
[04:33.721] Was it just regular rock’n’roll type of constants(?)...
[04:36.135] J: Yeah. Chuck Berry, Bo Diddley, Jerry Lee Lewis,
[04:38.708] Little Richard, and the others(?)
[04:41.233] and Plastic Ono Band,
[04:42.671] which is me, Yoko, Eric Clapton,
[04:46.090] Klaus Voorman(bass), the man’s of man(?)
[04:48.251] and Alan White (drums) or Alan Price,
[04:50.062] or ex-Alan Price.
[04:51.188] T: And you did all rock’n’roll songs?
[04:53.487] J: Well, when it gets starts at Nitty Gritty,
[04:56.025] I don’t know the words to any songs,
[04:57.988] who ended up I know Blue Suede Shoes,
[05:00.163] from the 50s y’know.
[05:01.825] So we did Blue Suede Shoes, Money, Dizzy (Miss Lizzy).
[05:04.926] We didn’t get a piece of chance on our new songs,
[05:09.702] on our great Cold Turkey.
[05:11.013] We really blew(?) it, y’know.
[05:13.601] It’s great singing it.
[05:15.049] (Yoko: He wasn’t good(?) about it. He wasn’t like(?) revival,
[05:17.188] but he begins just like...(?)
[05:18.612] J: We progressed it, the things we always progress it was on it, y’know.
[05:21.513] But it ended like we got completely freaked out
[05:23.875] with Yoko taking over, and Eric and all of us
[05:27.274] just blowing the amplifiers
[05:29.012] as much as they go y’know.
[05:31.300] T: And uh...
[05:32.662] Was there any rehearsal involved in this, or you just ???...
[05:35.089] J: We tried to rehearse on the plane as possible,
[05:37.688] but we couldn’t hear a thing
[05:39.037] because we didn’t have the amps.
[05:40.637] Then we did one run-through at the backstage,
[05:43.438] right through the numbers once.
[05:45.187] But the groups was so funky,
[05:47.525] they just picked it up y’know.
[05:48.849] T: And is there any chance of this being a nuclear
[05:52.451] sort of the permanent Plastic Ono Band or...?
[05:54.951] J: Uhh... It could be, y’know.
[05:56.914] But I mean everybody sort of contracted
[05:59.125] or things like that. I suppose Eric was.
[06:01.200] But I suppose Plastic Ono Band could be pretty flexible y’know,
[06:04.876] because it is plastic.
[06:05.761] T: Hhhh. But it’s quite possible.
[06:08.588] It’s kinda be a reality from now on,
[06:11.712] the Plastic Ono Band.
[06:12.926] J: Yeah, until we get fed up with it, y’know.
[06:14.737] T: Yeah. J: I’m enjoying it at the moment.
[06:16.437] We make no plans to go around(?).
[06:19.087] Two guys rank up(?) and that’s all.
[06:20.636] Who cannot get... who can come along and play live with me, y’know.
[06:23.930] And then there were the guys.
[06:25.503] T: Is there any chance of the Beatles playing live again?
[06:29.990] J: I don’t know. But there is always a chance, y’know.
[06:32.327] But if the Beatles’s playing live, it is a different matter.
[06:34.829] We’ve got that great thing to live up to. It’s a harder gig.
[06:39.129] But just for me and Yoko to go out,
[06:42.090] we can get away with anything.
[06:43.578] J&T: (simultaneously) I hope. T: Hhhh.
[06:46.540] T: Right. We get back to the business
[06:48.539] with the Oh Darling track from Paul.
[06:50.153] T: Ringo’s track is the next one, the Octopus’s Garden,
[06:53.027] which reminded me for some reason of the Yellow Submarine, cartoon film.
[06:58.540] J: Yeah, that thing is the bubble bubble y’know,
[07:00.889] the factor that is under the sea bit,
[07:02.553] T: I suppose it was his really(?)?
[07:04.252] It doesn’t have other collection(?)?
[07:05.690] J: No, except that it’s about the bottom of the sea y’know,
[07:08.789] getting away from it all.
[07:10.353] T: And this is in fact the only song that Ringo wrote on the LP.
[07:16.179] J: Yeah. Well, it’s been a few years before
[07:17.652] his production is going as fast as ours.
[07:20.578] It took George a few years.
[07:22.514] T: And is this the only track on this LP
[07:26.476] that Ringo sings on as well as I know?
[07:28.077] J: Yeah. I think he’s done a bit harmony here and there,
[07:30.690] cause at the time I was away they laid
[07:32.664] a few harmony tracks on some of the medley bit. T: Oh yes.
[07:35.716] J: So I think Ringo’s doing a bit of  harmony here and there, too.
[07:38.427] T: It’s a pretty... sing-along sort of song.
[07:41.402] J: It’s a ring-along~ sing-along, y’know. Haha!
[07:44.277] T: Yeah. It’s very good vocs(?). Octopus’s Garden.
[07:49.030] T: I Want You (She’s so Heavy). J: Correct.
[07:51.667] T: Right. It’s... I suppose it is the heaviest track on the LP if we’re gonna get into that uh...
[07:57.654] J: Yeah. T: Begism(?), is it? J: It’s pretty heavy.
[08:02.554] The end, y’know, cause we used moog synthesizer on it.
[08:05.941] T: Oh that’s what all that electronic ...?
[08:09.054] J: Yeah. The range of this song is from, y’know,
[08:13.019] minus whatever to way over what you cannot hear, y’know.
[08:17.698] That machine, the Moog synthesizer can do all sounds, y’know,
[08:22.692] all ranges of  sounds. So we did that on the end.
[08:25.266] So if you were a doggy, you could hear a lot more.
[08:27.454] T: So any dog’s listening will get this together.
[08:30.830] John, what do you speak about
[08:34.166] playing the Moog synthesizer?
[08:36.181] I understand that there are ?? states
[08:39.143] who can get these together. (J: I got robot.)
[08:41.507] J: Yeah. George can work it a bit.
[08:43.068] I mean it’ll take all your life to
[08:45.057] learn all the variations on it. But uh...George’s got one.
[08:49.845] And a few people in England have got them,
[08:53.172] and they just sort of experiment it with them.
[08:55.282] He used it on Billy Preston’s LP.
[08:58.346] And he also played it in the solo in Because,
[09:01.746] and I think in Maxwell they come in, too.
[09:04.731] It’s here and there on the album y’know.
[09:06.544] T: So it’s matter of  sort of facing it(?)
[09:08.419] instead of  just doing it at the time?
[09:10.206] J: Yes yes. You can make it play anything y’know,
[09:13.232] any style,  any freaky... or just playing, y’know,
[09:17.746] it  sounds like trumpets or things if you want it to.
[09:20.358] T: Can it in fact be sort of set to play a particular pattern or ...
[09:25.197] J: Yeah, I think it can just go off on its own, y’know.
[09:28.095] I mean you could get it to play Arte Crisno(?)
[09:30.671] on its own forever y’know.
[09:31.906] See what happens to it.
[09:33.697] T: Yeah. There’s a frightening prospects
[09:36.546] of  a Moog synthesizer concert that’s output(?).
[09:39.145] J: That’ll be a great Plastic Ono Band y’know,
[09:42.908] with Moog synthesizer, just went on
[09:44.582] sang and play everything on its own.
[09:46.432] T: Because I suppose technically the notes
[09:49.008] will be perfect anyhow, wouldn’t it?
[09:50.559] J: Yeah. It just needs one guy to switch it on, y’know.
[09:53.522] T: And then leave. Collect the tickets at the door. (J:Yeah.)
[09:56.522] OK, this is the track called I Want You(She’s so Heavy).
[10:01.133] T: This part we sort of get to turn the record over.
[10:03.944] And the second George Harrison’s track
[10:06.495] is Here Comes the Sun, which is again
[10:09.344] another very catchy and melodic song.
[10:11.057] J: Yeah. It reminds me of sort of
[10:13.318] Buddy Holly in the way, y’know.
[10:15.220] T: Yes, I saw what you mean. It’s certainly
[10:18.219] that very strong melody line again.
[10:19.903] Is there any uh..
[10:20.664] I know there’s just no reason when one person writes song,
[10:24.139] but I think it’s such a dramatic change for George.
[10:26.387] J: I don’t know, y’know.
[10:28.188] I mean it’s just the way that he’s progressing.
[10:29.436] He’s writing all kinds of songs.
[10:30.699] He wants the door open.
[10:33.412] It’s the floodgates open. You can’t sort of...
[10:37.250] It’s an effort to concerntrate on
[10:39.612] writing certain kinds of songs, y’know.
[10:41.787] Like I preferred writing just non-melodic straight rock,
[10:45.425] (but) I can’t help writing other things.
[10:47.812] I think that thing supplies to all of us.
[10:49.701] The songs just come out, y’know.
[10:51.449] T:  John, when you got this LP together,
[10:53.327] did you select from a large number of tracks
[10:56.376] or did you virtually have a, y’know, ...
[10:59.459] J: No, not from a large number of tracks,
[11:01.032] from a large number of songs. Each of us has got, y’know,
[11:05.046] maybe about ten songs that contribute to an album.
[11:08.110] You can’t get more on.
[11:09.157] So when it’s your turn to record as it were,
[11:11.334] people picked the ones you want on most really.
[11:14.896] T: So then I suppose it gets to a point of
[11:18.647] a musical balance of the LP, too, hasn’t it?
[11:21.021] J: Yes. It gets into that.
[11:22.233] T: Right. George Harrison’s song.
[11:24.333] It’s called Here Comes the Sun.
[11:25.361] T: The next track is another song of yours, John.
[11:28.411] It’s called Because. And I seem to
[11:32.024] take some classic overturn in this. Is it by design or...?
[11:35.036] J: Yeah, sort of, y’know.
[11:37.148] Yoko plays classical piano.
[11:38.999] She was playing one day
[11:40.498] and I don’t know what it was,
[11:42.862] Beethoven or something.
[11:43.698] I said give me that chords backwards.
[11:45.148] And I wrote Because on it, on top of it.
[11:47.911] Yoko: Moonlight Sonata.
[11:49.097] J: Moonlight Sonata, backwards, something like that.
[11:52.736] T: It also had the harmony structure...
[11:55.361] is also slightly different from some of the harmonies
[11:59.649] you used in recording before.
[12:00.836] J: I wouldn’t know, y’know.
[12:02.210] I just ask George Martin or whoever’s around
[12:05.562] and said what’s the alternatives to
[12:08.323] thirds and fifths of  the only one’s I know.
[12:09.985] And he plays them on the piano.
[12:11.936] And ( I said) Oh we’ll have that one, y’know.
[12:13.422] I couldn’t tell you what they are.
[12:15.561] I just know it harmonies.
[12:16.710] T: It is also a very long song, isn’t it?
[12:19.436] J: It isn’t. It’s amazing. It’s the shortest one on it,
[12:23.547] only about 2 minutes something.
[12:25.262] T: Oh, or is it because it sort of gets off into the...
[12:27.936] J: It gets off. And then it gets to the long... the medley.
[12:31.962] T: Ah, right. Now, uhh, let’s get into it right now.
[12:36.912] We will talk about the medley in a moment.
[12:38.410] The song called Because.
[12:39.810]
[12:40.448] T: The medley comes next on the LP.
[12:42.336] This is really a whole piece of music joint...
[12:47.336] I mean repeated phrases come back on the way through it.
[12:50.098] J: It’s also a good way of getting rid of
[12:52.972] bits of songs written out of years, y’know.
[12:55.012] T: So this is going a collective piece
[12:58.136] of songs running, there wasn’t any...
[12:59.547] J: Yeah. I mean George and Ringo in fact
[13:05.938] wrote a bit of it as we did it, y’know,
[13:08.450] literally I was in between bits and breaks into it.
[13:12.551] Paul would say we’ve got 12 bars in(?),
[13:14.686] let’s fill it in. And we’d fill it in on the spot.
[13:17.061] T: There’s also a couple of songs also link together,
[13:21.210] where there are some of characters...
[13:22.384] J: Oh yeah, I was just look ...
[13:24.259] My contribution to it was Polythene Pam,
[13:29.126] Sun King and Mean Mister Mustard.
[13:33.976] So we just juggle it about and try to make vague sense.
[13:36.313] In Polythene Pam... in Mean Mister Mustard
[13:39.825] I said “his sister Pam” and orignally I said
[13:42.198] “his sister Shelly” in the lyrics.
[13:43.635] I changed it to “Pam” to make it sounds
[13:45.861] like it has something to do with it.
[13:47.447] T: OK. We’ll get into the first part of the medley, which is...
[13:51.513] As we get to it, it’s another thing with Paul,
[13:56.524] and this piano... The first part.
[13:59.561] Was Paul on piano?J: Oh, he was always on piano.
[14:01.824] He can’t get him off.
[14:02.723] T: Hhh. OK, You Never Give me your Money.
[14:06.924] J: Right!