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secretliz001 · 4 years

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翻译：Paul McCartney: One for the Road

原链接：https://www.rollingstone.com/music/music-news/paul-mccartney-one-for-the-road-43295/ He blew it. Not that anybody spotted it. The audience at the Rosemont Horizon, outside Chicago, was too busy swooning in the ersatzcandlelight of a few thousand cigarette lighters and luxuriating in the warmbalm of nostalgia as a real, live Beatle reprised one of the band’s biggesthits onstage. Nobody appeared to notice — or care — that Paul McCartney had completely botched the words to his enduringturn-of-the-Seventies hymn “Let It Be.”

他搞砸了，虽然倒也没人发现。在芝加哥外的好事达体育馆，千千万万观众们都忙于举起打火机，在虚假烛光中陶醉，沉浸在温暖怀旧气息里，因为舞台上，一位真实的披头正在重演披头士乐队最受欢迎的歌曲之一。没有人发现（或者说，没有人在意）McCartney完全把Let It Be的歌词唱错了，这首发行于七世纪年代头上，经久不衰的歌。

“I condensed that little one very nicely — it took on a newmeaning,” McCartney confesses later with an embarrassed laugh. “All I did was,I forgot the second half of the first verse and put in the second verse. And Ithought, ‘God what am I going to do? I’ll just do the second verse and probablyno one will ever notice that I’ve done it twice.’ But I was so thrown off thatI ended up getting it wrong in the last verse as well.” Not that it was all hisfault anyway, he insists with a disarming smile. “I spend most of my timewatching these little cameos in the audience. It’s like all human life isthere, a big sea of it. And it’s a bit distracting. If I get off on the wrongfoot, it’s because I’m hung up on the audience.”

“这首歌我提炼得不错，给了它些新内涵。”McCartney尬笑着坦白，“我就，把下半首歌的第一段给忘了，唱成了第二段，想着天哪咋办，要不我就直接唱第二段得了，大概也没人会发现我唱了两遍。然而我脑筋整个被搞乱，结果最后一节也弄错了。”他毫无防备地笑着，坚持说这并不都是他自己的错，“大部分时间我都在观察观众席。看着人山人海，人类生活都浓缩在那儿，有点让人分心。心思都在观众身上，把我的步骤都弄乱了。”

And because, he might have added, that audience always was, still is and forever will be hung up on the Beatles. Currently in the midst of hisfirst major concert tour since his splashy 1976 American jaunt with the lateWings, Paul McCartney is digging deep into his half of the Beatles’ song bagafter spending most of the past twenty years pretending — in concert,anyway — that he had never been Fab in the first place. He is nowrediscovering to his eternal surprise, night after night, the enduring impactand resonance of the act he had effectively denied for all those years.

他可能还会补充说，这也是因为披头士乐队依然永远吸引着观众。McCartney正在进行一场大规模巡演，是自Wings乐队在1976年的那场高调美国巡演以来的第一次巡演。在过去的20年中，他一直在假装自己从来不是披头士乐队的一员（至少在演唱会上是这样表现的）。而为了这次巡演，他则深挖了自己创作的，占据披头士曲库一半的作品。如今每一晚他都能重新体验那份惊喜，那份他曾经故意拒绝面对，但是对观众有着经久不衰的影响和共鸣的惊喜。

It’s not all hot tears and wet seats, of course, like it was in’64. At the Rosemont Horizon, where McCartney and his five-piece band holdcourt for three sold-out nights, it’s more like bright shrieks of astonishmentand deep sighs of contentment, spiced with moments of poignant intimacy anddroll hilarity:

Two teenage girls in the front row gently sobbing during“Yesterday,” a song written nearly ten years before they were born.

A middle-aged couple slow-dancing in the balcony to “Hey Jude.”

A family of three, including a little girl of kindergarten age,holding up signs that read, “We ♥ Paul,” except the little girl is holding the “We” upside down.

The thirtysomething fella in the tenth row holding a cellularphone over his head, apparently phoning in the gig to a ticketless yuppie palat home.

在好事达体育馆，McCartney和他的五人乐队举办了三场售罄演唱会。现在不是1964年，观众席已经没有粉丝们的滚滚热泪和湿哒哒的椅子。取而代之的是快乐的惊声尖叫和愿望满足的大叹，点缀着各种亲情与搞笑时刻：

前排的两个少女听着 "Yesterday "轻轻啜泣，这首歌是在她们出生前10年写就的。

一对中年夫妇缓缓地伴着“Hey Jude”在看台上跳舞。

一家三口，举着“We ♥ Paul”的牌子，不过那个看着才在上幼儿园的小姑娘把“We”的牌子举倒了。

第十排的三十多岁的小伙子高举着移动电话过头顶，显然在给一个没买着票只能家里蹲的雅痞朋友打电话。

“I’m touching a lot of different nerves out there,” saysMcCartney, quite rightly. “Young couples and not-so-young couples who wereyoung when ‘Hey Jude’ came out. You see lots of guys doing high fives to eachother, a lot of communication, a lot of warmth.

“不同的人对我的表演都有感触。”McCartney说。他没说错。“不管是对年轻的情侣，还是对“Hey Jude”刚出时很年轻但现在已经不年轻的情侣。你可以看着好多人互相击掌，看到各种交流各种温暖。“

“It’s not so much déjà vu for me. I’ve come back asanother person. I have different sensibilities now. I have kids, all that.Let’s face it, the first tours the Beatles did, the main essential thing wasscoring chicks. I’m a different person now, because that’s not allowed” Hegrins.

“但其实我对这场景并不熟悉，因为我回归时已经成长为另外一个人了，带着更多感情更多见解，有了孩子什么的。老实和你说，披头士第一次巡演最重要的目标就是找妹子而已。现在我不一样了，可不允许我这么干。”他笑笑。

“And what I find now is, I get really touched by the audience,” hesays. “I keep telling Dick Lester [the director of A Hard Day’s Night and Help!, whois making a film of the tour] to capture all the little things we see from thestage. Nobody in the audience really sees it. But we do, because we’re lookingat them. And that’s the real show.”

“我发现自己倒是被观众感动着。我一直和Dick Lester说要捕捉到从台上向下看的各种细节。（Dick Lester是A Hard Day’s Night and Help!的导演，也在为此次巡演进行拍摄。）我们能看到观众在席内看不见的细节，因为我们才是面对观众的人。观众的反映才是真正的演出。”

That’s also the crux of Paul McCartney’s continuing dilemma as anex-Beatle. McCartney, 47, has been a solo artist for nineteen years, nearlydouble his tenure as a Beatle. In 1988 he made a welcome return to his Fiftiesrock & roll roots with the Russian-only “covers” album Snova v SSSR, a.k.a. Back in theU.S.S.R. Last spring he released his most critically acclaimed(although commercially disappointing) album in years, Flowers in theDirt. In addition, his recent songwriting partnership withElvis Costello has yielded two Top Forty hits, his own version of “My BraveFace” and Costello’s recording of “Veronica.” He capped 1989 by debuting afine, new touring band featuring top-drawer studio and road guys who couldoutplay Wings blindfolded — guitarist Robbie McIntosh (the Pretenders),singer-guitarist Hamish Stuart (Average White Band), keyboardist Paul “Wix”Wickens (Paul Young, the The) and drummer Chris Whitten (the Waterboys, JulianCope), plus McCartney’s wife, Wings vet Linda, on keys and harmonies.

这也是McCartney作为一位前披头士一直进退两难的症结所在。47岁的他已经单飞19年，几乎是他披头士生涯的两倍。1988年，他推出了一张只在俄罗斯发行的翻唱专辑Snova v SSSR（又名Back in the U.S.S.R.），令人欣喜地追溯回（影响到他的）五十年代的摇滚乐根源。去年春天，他发行了多年来最受好评的专辑Flower in the Dirt，虽然商业成绩不理想。此外，他最近与Elvis Costello的合作了两首歌曲，McCartney版本的My Brave Face 和Costello的 Veronica，都打到了排行榜前四十名。1989年，他首次组建了一支优秀的新巡演乐队，都是优秀的录音室和巡演音乐人，蒙着眼睛弹也能超过Wings乐队--吉他手Robbie McIntosh (Pretenders)，主唱吉他手Hamish Stuart (Average White Band)，键盘手Paul “Wix” Wickens (PaulYoung, the The)和鼓手Chris Whitten (Waterboys, Julian Cope)，再加上他的妻子，Wings乐队常驻成员Linda，负责键盘和和声。

Yet it has hardly escaped McCartney’s attention that many of thepeople packing arenas and, later this spring, stadiums on his 1989-90 worldtour are not coming to see him play obscure album tracks from Flowers in theDirt. They are coming to see the Beatles-by-proxy. They arecoming to have their emotional buttons pushed by the songs that defined andtransformed their youth — “The Long and Winding Road,” “Can’t Buy MeLove,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things WeSaid Today,” “Back in the U.S.S.R.,” “I Saw Her Standing There,” the climactic“Golden Slumbers/Carry That Weight/The End” medley from Abbey Road. Theyare coming to see many of these songs performed live for the first time (thebulk of the Beatles oldies in McCartney’s show postdate their 1966 retirementfrom the stage) and, quite possibly, the last.

然而，McCartney当然不会假装无视，其实铺满场馆的人们并不是来听他演出Flowers in the Dirt中稍显晦涩的曲目。他们是来食用披头士代餐的。他们希望听到那些定义并改变了他们青春的歌曲，去触动自己的情感开关— “The Long and Winding Road,” “Can’t Buy Me Love,” “Sgt.Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things We Said Today,”“Back in the U.S.S.R.,” “I Saw Her Standing There,” Abbey Road中高潮迭起的 “Golden Slumbers/Carry That Weight/The End” 组曲。他们的目的，是来欣赏史上头次（也有可能是最后一次）现场演出的披头士老歌，大量1966年披头士离开舞台以后创作的曲目。

At the Rosemont Horizon and later that week at the Skydome inToronto and at the Forum in Montreal, you could feel the audience buzz take apalpable dip every time McCartney went into an unfamiliar number from Flowers in theDirt, like the reggaefied shuffle “Rough Ride” or “We GotMarried,” a Flowers highlight recalling the hard-rock melodrama ofmid-Seventies Wings. The pressure drop was particularly noticeable at thebeginning of the two-and-a-half-hour show, as the crowd cheered the soundtrackof Beatles, Wings and solo McCartney hits that accompanied Richard Lester’sopening rockumentary-film montage with its kinetic blasts of Beatlemania,flower power, Vietnam, et cetera. After which McCartney and his band hit thestage and stepped right into … his new single, the appealing butcomparatively low-key “Figure of Eight.”

在他巡演的各个场地都能感觉到，每次McCartney表演一首Flowers in the Dirt中的新曲目，观众的热情会陡然下降，比如雷鬼风的“Rough Ride”或者 “We Got Married”，令人眼前一亮回想起七十年代中期Wings的硬摇旋律的“Flower”。这在开场尤其明显。观众们欢呼着披头士，Wings, McCartney的solo作品，伴着导演制作的记录着摇滚年代开场，屏幕上展现了披头士狂热，花之力，越战等等。之后，McCartney和乐队上台直接演出新单曲，是吸引人但相对低调的 "Figure of Eight"。

“We did thaton purpose — we had to do that,” McCartney argues over aveggie burger (the McCartneys are devout vegetarians) during a preshowdinner break backstage in Toronto. “Originally, we were going to open with ‘ISaw Her Standing There.’ But I really got upset by the idea. I was going homeone night and I thought, ‘That’s really betraying our new material, sending itright down the line.’ Like saying, ‘Hey, I haven’t been around for thirteenyears and I haven’t done anything worthwhile. Here’s the Beatles stuff.’

“我是故意的。“McCartney吃着素汉堡解释道（McCartney一家都是坚定的素食主义者）。”本来我们想拿I Saw Her Standing There开场，但我真的不支持这个想法。一天晚上回家的时候我想着，‘这简直在背叛我们的新作品，整个把格调拉低了’。这个安排就好像在说，‘嘿，我神隐了13年，啥有价值的事都没干。喏，给你们听听披头士的歌得了。‘“

“It’s the obvious thing. Boom, bang, Beatles, Beatles. Then yousay, ‘Now we’d like to do some new material.’ Boo! Hiss! I’ve seen the Stonestry and do it, and it doesn’t go down that great. That’s a fact of life. Evenwith the Beatles, new material didn’t always go down that well. It was theolder tunes. ‘Baby’s in Black’ never went down nearly as well as ‘I Feel Fine’or ‘She Loves You.’ That’s just the nature of the beast.

“真的很明显。如果上来就砰砰唱披头士的歌，然后说‘现在我们想演一些新作品。’嘘声就来了。我见过滚石他们这么做，效果不太好。这就是人生嘛，就算是披头士，新作品落地激起的浪花也不会大，老歌才更能带动人们。唱‘Baby’s in Black‘的效果就没有唱‘I Feel Fine’ 或 ‘She Loves You’好。这行就是这样。”

“It is hard to follow my own act,” he admits. “But the only answerto that would be to give up after the Beatles. I only had two alternatives.Give up, or carry on. And having elected to carry on, I couldn’t stop.”

McCartney has been consistently productive as an ex-Beatle. He hasnot, however, been consistently successful. His Eighties chart duds include Pipes of Peace,Give My Regards to Broad Street (the soundtrack to hisdisastrous feature film of the same name), Press to Play and thesolo/Wings “greatest hits” package, All the Best. Notably, McCartneyincludes only one song from the first three albums in his current show: “SaySay Say,” his Number One duet with Michael Jackson, from Pipes of Peace, isfeatured in Richard Lester’s opening film.

他承认，“追上先前的成就很难，唯一的答案是在披头士之后就放弃。只有两个选择：放弃，或者继续。既然选择了继续，我就停不下来。"

McCartney作为前披头士一直都很高产，但也没有持续成功。他80年代排行榜上的哑弹包括Pipes of Peace、Give My Regards to Broad Street（超灾难的同名电影原声带）、Press to Play和Wings的精选集All the Best。值得注意的是他本次演出只收录了前三张专辑中的一首歌：Say Say Say，是他与迈克尔-杰克逊合作曲，打上了榜单第一，也在演唱会片头影片出现了。

Flowers in the Dirt has done reasonably well saleswise — 600,000 copies inthe United States, 1 million in continental Europe by year’s end — but hasnot been the chartbuster either McCartney or his manager, Richard Ogden,certainly hoped for.

Flowers in the Dirt的销量相当不错--在美国发行了60万张，到年底在欧洲发行了100万张--但还没有达到McCartney与他的经纪人Richard Ogden希望的畅销程度。

“It was as if it didn’t exist,” Ogden says ruefully. “I sat with aradio program director from Chicago, very nice, very up about the show. And hesaid, ‘What’s the next single?’ And I said, ‘We’re just starting with “Figureof Eight” ‘ And he said, ‘What about “This One”? That’s really good.’ And Isaid, ‘That came out in August, mate.’ That really drives me crazy.”

“打单结果就好像消失了一样，”Ogden怅然若失地说，"我和一个芝加哥的电台节目总监坐着，他人很好，对这个节目很上心。他说，'下一张单曲是什么？’我说：" Figure of Eight " 他说"那This One呢？这首很好听。”我说, ‘这首8月份就发行了啊，老哥。’真的好抓狂。"

McCartney’s response, says Ogden, is a bit stoic. “Paul’s beendoing this for a long time, and he’s going, ‘I don’t want to think about thisanymore. You guys sort it out.'” In fact, McCartney’s response to his ongoingEighties commercial and, until recently, critical slump has been to get out andplay, something he had done infrequently (Live Aid, the 1986 Prince’s Trustconcert) since Wings broke up following his arrest in Japan in 1980 forpossession of marijuana. In 1987, with Ogden’s active encouragement andorganization, McCartney initiated a series of Friday-night jam sessions at asuburban-London studio with an eye toward eventually finding enough new,inspiring players to start a formal band. He also liked the idea, he says, ofhaving a rockers’ equivalent of cafe society.

McCartney的反应倒是挺淡定，他在这一行太久了。他说，“我不想考虑这个了，你们搞定吧”。实际上对于自己八十年代作品商业上的低迷，和最近才上升的风评，他的对应方式一直是出去演出（Live Aid，1986年Prince的Trust演唱会），虽然自1980年在日本因持有大麻被捕后Wings解散以来，他很少这样做了。1987年，在Ogden的积极鼓励和组织下，McCartney在伦敦郊区的一间录音室发起了一系列周五晚上的即兴演奏会，目的是找到足够多新人、有灵感的乐手来组建一支正式的乐队。拥有一个像咖啡公社一样的rocker团体，这个想法他很喜欢。

“The Beatles nearly did that once,” says McCartney. “We were goingto open an Apple tea room, where we could all go and be intellectual, talk artor Stockhausen. So I thought, ‘We’ll do a similar thing with the jam. Maybe theword will get out that there’s a jam every Friday night, see who shows up.’ Butin fact, because it’s done by your office, and they just ring specific people,it didn’t work out like that. Whoever they rang, showed. Whoever they didn’t ring,didn’t show.”

McCartney 说，“披头士差点就这么干了，本来我们想用Apple的一个茶室，大家都进去开拓思路，聊聊艺术或者Stockhausen。我想着我们的即兴排练也学样，每周五的活动的话传开了，看看谁会参加。但其实因为是办公室组织的，而他们只会给一些特定的人打电话，效果不好。接到电话的人会参加，没接到的就不参加。”

When asked why he stayed off the road for so long, McCartney saysvery casually: “I just couldn’t be bothered. Until Live Aid came along, Ididn’t think of doing anything live. I don’t know why. Maybe because nobodyasked me. Nobody asked me personally, anyway. I’d hear little things here andthere; I heard that Elton John was quoted as saying, ‘What he needs is to getback on the road.’ But it never seemed that vital for me; I was alreadyenjoying myself.”

问他为什么这么久没有巡演，McCartney反应很随意，“我就不是很care嘛，在Live Aid之前都没想过现场演出，我也不知道为什么。大概因为没人问过我吧，至少没人当面问过我。小道消息确实听说了点，我听人说Elton John说过“McCartney他现在需要的是回去巡演”。但这对我来说也不太关键，我已经很享受自己的生活了。”

McCartney was never really much of a road hog. Wings’ first andonly American tour came ten years after the Beatles said sayonara to the roadat Candlestick Park. And it’s easy to tell how much time has elapsed by watchingMcCartney’s current show. The production is heavy on Seventies arena kitsch:lasers galore, levitating keyboards. McCartney’s between-song patter alsoprobably seems quaint (“We’re going to go back through the mists of time, to atime known as the Sixties”) to veteran Eighties concertgoers used to thenarrative command of Springsteen or Bono’s spiritual cheerleading.

McCartney从来都不痴迷巡演，披头士在Candlestick Park演出和观众彻底说byebye十年后Wings才在美国巡演。这是第一次也是最后一次。而看McCartney现在的演出，马上就能知道时间过去了多久。这场演出充满了七十年代舞台上的奇特风格：激光灯效，键盘悬浮着，对于八十年代资深演唱会观众，他们已经习惯了Springsteen 的narrative command【？】或者Bono的精神鼓励的，McCartney演出间歇的唠嗑风格古早，“我们将穿过时间的迷雾，回到一个被称为六十年代的时代”。

One distinctly Eighties aspect of McCartney’s tour is hiscontroversial tour-sponsorship deal with Visa for the 1990 American shows. TheVisa arrangement — reportedly worth $8.5 million, which McCartney saysbasically covers the cost of transport for the tour — represents a new,potentially troublesome twist in pop-music sponsorship: rock & rollsponsored (some will say co-opted) not simply by a merchandiser butby a credit-card company, with close ties to banks and their complex networksof possibly questionable investments. McCartney says he vetted Visa asthoroughly as possible before saying, “I do.” “It may be true that they are agigantic money corporation,” he says, “but I can’t see what’s wrong with that,unless you can prove to me South African links.”

本次巡演的一个明显80年代特征是他与Visa公司就1990年美国演出达成的赞助协议，这个协议其实有点争议。据报道，Visa公司赞助达850万美元，McCartney说，这笔钱基本上包括了巡演的交通费。它代表了流行音乐赞助中一个新的、潜在的麻烦：摇滚乐的赞助（合作）不是简单地由一个商人赞助，而是一家信用卡公司，与银行及其可能会出问题的复杂投资网络关系密切。McCartney在说 "我同意 "之前，他尽可能彻底地审查了Visa。"他们可能确实是一家巨大的财团，"他说，"但我不觉得有什么问题，除非你能向我证明他们和南非之间有关系。"

McCartney also insists he is not betraying any kind of political,social or emotional trust represented by the Beatles or the songs of theirsthat he’s performing on tour. “Whether you like it or not,” he says, “no matterwhat people thought was going on in the Sixties, every single band that didanything got paid for it. You look back at the early Beatles concert programs,there were Coke ads. We always got paid for everything we did, and when we madea deal, we always wanted the best.

McCartney坚持认为他并没有背叛任何一种披头士乐队代表的政治、社会或情感寄托，也没有与他在巡演中歌相左的行动。“实话实说不怕你惊讶，"他说，"不管你觉得六十年代是什么风气，每个乐队做的任何举动都是有报酬的。你回头看看披头士早期的演唱会，有可乐做的广告。我们做任何事情都会得到报酬，做交易总是希望得到最好的。“

“Somebody said to me, ‘But the Beatles were anti-materialistic.’That’s a huge myth. John and I literally used to sit down and say, ‘Now let’swrite a swimming pool.’ We said it out of innocence. Out of normal, fuckingworking-class glee that we were able to write a ‘swimming pool.’ For the firsttime in our lives, we could actually do something and earn money.

“有人和我说，‘可是披头士是反物质主义的呀。’这只是个传说罢了。John和我以前真的会坐下来写歌，说“咱们写个游泳池出来”，这些都是无意识说出来的。这种普通的，tmd工人阶级的志趣使我们通过写歌赚到了一个“游泳池”。这是我们人生第一次，确确实实可以种瓜得瓜挣大钱。

“You get any act around the table with their record company, theytell their manager, ‘Go in and kill.’ They don’t say, ‘Oh, let the punters inat half price.’ We’ve actually done a lot of that — the free program, thatwasn’t necessary.

“你和唱片公司打交道，他们都会和经纪人说，‘去吧，大干一场’。他们不会说，‘欧我们票价打对折吧’。事实上我们也做过免费的项目，不过也没必要罢了。

“And I think it’s just going to be tough if people don’t like it,”he says coolly. “Stick the finger up and say, ‘Sorry, boys, it’s tough. You maynot like me because of it. Tough darts. I know I’m not doing it for whateverperception you put on it. It doesn’t alter me.’ I’ve taken money off of EMI.The Beatles took money off of United Artists.

“而且我认为如果人们不喜欢，他们就得忍着。”他酷酷说，“我会举个中指说，‘Sorry咯，这事就这样了，你可能不喜欢，但你也只能忍着。我做这个并不是为了你对我的看法，你怎么想都不会改变我’。我拿的是EMI的钱，披头士拿的是联美公司的钱。”

“I wish we’d taken a little more actually,” he says, suddenlylaughing, taking some of the chill out of the air. “The accountants on A Hard Day’s Night gotthree percent. We got a fee.”

他突然笑着说，“我倒是希望当时多薅点，A Hard Day’s Night的会计都拿了百分之三，我们只拿了一笔固定的钱。” 气氛突然放松了起来。

“I‘m actually getting tired of Paul interviews,” Linda McCartneyremarks with a shrug while her husband is being trailed by a television-newscrew backstage in Chicago. “People always ask him about the same things. WhatJohn said about this, or what such and such Beatles song meant? Why don’t theyask him about other things, about the important things going on in theworld?”

当他电视新闻人在跟着McCartney在芝加哥场后台采访时，Linda McCartney耸耸肩说，“Paul的采访我都已经疲了。人们总是问他同样的问题：John说了什么，或者这个那个披头士歌曲是什么意思？他们为什么不问其他的，问问世上真正发生的重要事件？"

For many of the press hounds, radio DJs and TV interviewers following this tour, not to mention the fans who are paying for the privilege, the Beatles are still one of the most important things in the world. In a world still reeling from their original sound and remarkable creative vision, the Beatles’ significance as a cultural touchstone and spiritual anchor cannot be overestimated. In the Sixties the group was the embodiment of youthful ambition and utopian desire amid the graphic realities of war in Southeast Asia and at home in the urban ghettos. Now, with the world plagued by crack, wracked with racial hatred and poised on the edge of ecological apocalypse, talking about the Beatles is like a form of therapy.

对于关注这场巡演的许多狗仔，电台DJ，和电视记者，更不用说付钱来看的观众，披头士乐队依然是世上最重要的事情之一。他们的原创声响和非凡的创作理念仍在影响着这个世界，作为文化试金石和精神支柱的意义是不可低估的。在六十年代，这支乐队在斗争纷飞的东南亚和城市贫民窟，体现了青年们的志向和对乌托邦的向往。而现在，在这蔓延着毒品，种族仇恨和生态灾难的世界，谈论披头士乐队更像一种疗愈手段。

That seems to be just as true for McCartney as it is for any fan. During rehearsals for the tour, the band would take an occasional tea break, at which point, Paul Wickens recalls, “anecdotes would come out about the old days, little stories about him and John.”

对McCartney来说似乎也是如此。在巡演排练期间，乐队偶尔会进行茶歇，Paul Wickens回忆道，“他会说一些旧日轶事，关于他和John的小故事"。

But the usual aura of Beatlemania that accompanies McCartney wherever he goes has increased tenfold, at least, with the inclusion of so many Beatles songs in his set. The recent settlement of the band members’ lawsuits with their record company, Capitol-EMI, and among themselves has also brought the tiresome issue of a Beatles reunion back to the fore. McCartney himself fanned that flame at the start of the American tour in November when he suggested during a Los Angeles press conference that with their legal differences settled, maybe he and George Harrison might write songs together for the first time. (He didn’t say anything about writing with Ringo Starr.) Harrison quickly put the kibosh on a possible reunion, issuing a terse press statement: “As far as I’m concerned, there won’t be a Beatles reunion as long as John Lennon remains dead.”

但无论McCartney走到哪里，平时就伴随着他的披头士狂热至少成十倍地增长，毕竟他的演出中加入了这么多披头士的歌曲。最近，乐队成员结束了与Capitol-EMI唱片公司的诉讼，这也重新聚焦了披头士重聚这个老大难问题。McCartney在11月的洛杉矶巡演的新闻发布会上表示，随着他们解决法律分歧，也许他和George会第一次一起写歌。(他没有说任何关于与Ringo一起写作的事情。)George很快就打消了这个念头，发表了一份简短的新声明：“就我所知，只要John没活回来，披头士是无法重聚的。"

Indeed, John Lennon is an extremely conspicuous presence on McCartney’s tour, by his very absence. His name, his music and his celebrated differences with McCartney during and after the Beatles’ lifetime repeatedly come up in both interviews and idle conversation. Lennon figures prominently in the autobiographical passages that constitute the bulk of the 100-page concert program McCartney is distributing gratis at his shows. But in discussing Lennon in the context of his own contributions to the Beatles’ legacy, without Lennon to answer back, McCartney runs the risk of looking like he’s grabbing all the glory.

事实上，John的缺席反倒在本次巡演中成为了一个极其显眼的存在。采访和闲谈中人们都反复提及他的名字、音乐以及他与McCartney在披头士解散前后的著名纠纷。巡演中免费【免费!!!!!!!!】发放的【多达!!!!!!!!】100页场刊大段的自传段落中，John的身影占重要地位。但在讨论Lennon对披头士作品的贡献时，此时没有Lennon回击，McCartney看着像抢走了所有风头。

For example, a portion of the program’s interview section is devoted to McCartney’s adventures in the nascent London underground of the mid-Sixties: hanging out with art scenesters like gallery owner Robert Fraser, attending avant-garde music concerts, helping to set up the pioneering Indica Bookshop and Gallery, funding the seminal underground newspaper IT (International Times). “I’m not trying to say it was all me,” McCartney points out in the program, “but I do think John’s avant-garde period later, was really to give himself a go at what he’d seen me having a go at.”

例如，场刊访谈有一部分是关于McCartney在伦敦六十年代中期新生地下艺术中的穿梭：与画廊老板Robert Fraser等艺术界人士混在一起，参加前卫音乐会，帮着打造先锋书店画廊Indica，资助开创性的地下报纸IT（International Times）。"我并不想说这都是我的功劳，" McCartney在场刊中指出，"但我确实认为John后期对先锋艺术的探索，是为了给自己一个新生活的机会，因为他看到了我经历的新生活。"

“Because I talk about this so much, people go around saying, ‘Oh, he’s trying to reclaim the Beatles for himself, to take it away from John,'” says McCartney while relaxing on the chartered jet ferrying him, his family and the band between Toronto and Montreal. “I’m not doing anything of the kind! I’m not trying to claim the history and achievements of the Beatles for myself. I’m just trying to reclaim my part of it.

"因为我经常谈这件事，所以人们到处说，'哦，他想把披头士据为己有，从John那里夺走它'，" McCartney乘着包机轻松谈到（这包机在多伦多和蒙特利尔之间接送他自己、家人和乐队成员）。"完全没有的事! 我不想把披头士的历史和成就据为己有。我只是想找回属于自己的那部分。”

“It’s not sour grapes. It’s true. I was there in the mid-Sixties when all these things started to happen in London. The Indica Gallery, art people like Robert Fraser. I was living in London, and I was the only bachelor of the four. The others were married and living in the suburbs. I was just there when it all started to happen.

“真不是酸葡萄心理，六十年代中期伦敦百花齐放的时代，我就在那旋涡中心，在Indica画廊，与Robert Fraser这类艺术人士在一起。我就住在伦敦，也是乐队里唯一一个单身的。另外三个都结婚了住在郊区，我只是正巧那时在那地而已。”

“The difference is that once John got interested in it, he did it like everything else — to extremes. He did it with great energy and enthusiasm. He dove into it headfirst with Yoko. So it looked like he had been the one doing all the avant-garde stuff.

“It’s the ultimate conundrum,” he admits rather helplessly. “If I don’t say anything, I go on being the so-called wimp of the group. If I do open my mouth, it looks like I’m sullying John.

"不同的是，约翰一对它产生兴趣，他就开始走极端，就像他做别的事情那样。他以极大的精力和热情去投入，和洋子一起，一头扎进去。所以看起来他才一直在做各种先锋前卫的活动。”

"这是终极难题。"他颇为无奈地承认。"如果我什么都不说，我就一直是所谓的群体中的懦夫。但如果我真的开了口，看着就像是我在diss约翰。”

“And this has only become an issue because he’s dead. Because of the mythologizing that inevitably comes with someone as special as that. And he never wanted that for himself. I remember driving in a car, listening to an interview with John on the radio on the day he died in which he said, ‘I don’t want to be a martyr.’ He didn’t want that responsibility, to be larger than life, to be some kind of god.”

No one brings it up, but this discussion, ironically enough, is taking place on the evening of the ninth anniversary of John Lennon’s murder.

"而正是因为他去世了，这才成了一个问题。因为他地位如此特殊，不可避免会被捧上神坛，可他从来都不想这样。我开车时，听过约翰去世那天的电台采访，他说，'我不想成为烈士'。他不想要那种责任，大于生命，要成为某种神什么的。"

虽然无人提及，但讽刺的是，这场访谈是在John Lennon遇害九周年的晚上进行的。

“The fact is, we were a team,” McCartney states firmly as the plane begins its descent, “despite everything that went on between us and around us. And I was the only songwriter he ever chose to work with. Nuff said.”

"但其实我们是一个团队，"他在飞机开始下降时坚定表示，"尽管我们之间以及周围环境发生了各种事情，但我依然是唯一一个他自己选择合作写歌的人，就是这样。"

A day in the touring life, McCartney style, is a nonstop series of interviews, photo opportunities, press conferences, sound checks and meals grabbed quickly by a band on the run. And, of course, the nights are busy, too.

McCartney的巡演生活每天充斥着持续的采访、拍照、新闻发布会、试音，在奔波中随意扒几口饭。当然，晚上也很忙。

This evening’s performance at Toronto’s Skydome includes McCartney’s nightly plug for Friends of the Earth, the international ecological lobbying group that he is promoting throughout the tour. As the final notes of the closing Abbey Road medley reverberate around the cavernous Skydome, McCartney and the band jump into a fleet of golf carts, which zoom through the hallways to a waiting tour bus. With all aboard, the bus pulls out of the Skydome Starsky and Hutch-style before most of the fans have even left their seats. Back at the hotel at 1:00 a.m., McCartney hosts a small bash for the tour entourage in his suite. The food is vegetarian Chinese. The main attraction is a video of the evening’s Sugar Ray Leonard-Roberto Duran fight. At 2:30 a.m., as the party breaks up, McCartney, wearing a bathrobe, dances alone in the living room to the new Quincy Jones album.

今晚在多伦多Skydome的演出，包括McCartney每晚为Friends of the Earth做的宣传，一个国际生态游说组织。当空旷的Skydome回荡着Abbey Road组曲最后一个音符，McCartney和就乐队跳上高尔夫球车，穿过走廊驶向一辆等着的巡演大巴。大多数歌迷都还没来得及离开座位呢，大家就都上了车，飞速驶出了Skydome，像在演警界双雄似的。凌晨1点回到酒店，他会在套间里为随行人员举办一场小型派对，吃的中式素食，电视里放着当晚Sugar Ray Leonard-Roberto Duran的比赛录像。凌晨2点半派对散场，他会穿着浴袍，听着Quincy Jones的新专独自，在客厅里独自跳舞。

Sedate in tone, organized with stunning military efficiency, the 1989-90 Paul McCartney World Tour is strictly business — the business of putting on a good show, promoting the latest record, getting maximum publicity and attempting to satisfy the constant public hunger for all things Beatle.

“This is more like a Beatles tour, strangely enough,” says McCartney. “In doing this tour, I’ve taken hints. If someone comes up and says, ‘How should we do this?’ my mind goes back to the best tours I’ve been on. And those were the first Beatles tours of America. They were highly organized, very efficient.

基调沉稳，组织高效，1989-90年Paul McCartney世界巡回演唱会是一场严格的商业活动—是为了举办一场优秀演出，推广最新唱片，获得最大宣传，并试图满足公众对披头士相关的持续渴望。

"挺奇怪的，这倒更像是一场披头士巡演，"McCartney说。"巡演中，我有一些自我暗示。如果有人过说，'我们应该怎么做？'脑海里就回想起我参加过的最好的巡演：披头士的第一次美国巡演，组织得很好，很有效率。

Where there was once the hysteria of four wild boys with the world at their feet, however, now there is the calm of a middle-aged man who spends nearly all of his offstage hours meeting with assorted advisers, attending to his family (he and Linda are accompanied on this series of shows by two of their four children, Stella and James) and in turn being attended to by personal staff and security, the most prominent of the latter being three muscular, well-dressed men who look as if they had graduated with honors from Secret Service finishing school. Hell raising, needless to say, is at a premium on this tour.

曾经的，是四个狂野男孩带动的歇斯底里，站在世界之巅，现在的，是一个冷静的中年男子，几乎把所有台下时间都用在会见各种顾问、照顾家人（四个孩子中Stella和James这次陪他和Linda巡演），并反过来又受助理们和安保的照顾，其中最突出的是三个肌肉发达、衣着光鲜的男人，看着像特工学校毕业的优等生。Hell raising【？】在此次巡演中很重要。

“I’m not used to that,” Robbie McIntosh says of the tour’s emphasis on organization. “When I was with the Pretenders, we would do a sound check and then we would go to a pub or something. Now with this, I get a feeling I can’t do that. It’s a lot more regimented, basically because the security is a lot heavier, because of who Paul is. And I guess because of what happened to John, although nobody directly mentions that.”

"我不习惯这样。" Robbie McIntosh提到这次巡演很强调组织性。"当我和Pretenders乐队在一起时，做完音响检查，我们就回去酒吧或者别的地方。现在我感觉自己不能这样做了。一方面因为Paul的身份，安保工作更加严密。另一方面我猜也是因为John的原因。虽然并没有人直截了当提出来。"

McIntosh observes that the band “is sort of sacred” to McCartney, wholly separate from business. “He never talks business. Never, ever. He’s never mentioned money or anything like that to me. If he’s got something to say, then he’ll say it to the manager, and you will get it from him.

McIntosh发现乐队对McCartney几乎有些“神圣”，是完全与商业活动分开的。“他从来不说商业上的事情，从来都没有。他对我从来不提钱啊什么的。如果他想说，他会和经纪人沟通，经纪人再来和你沟通。”

“And he’s got a very young approach as far as the band,” says McIntosh “You’d think this is his first band the way he goes on. You see him at sound checks, going around in circles and doing those silly little jumps. It’s a real novelty to him to have a band again — and he treats it like that.”

"搞乐队这方面，他的各种行为都显得相当年轻，" McIntosh说，"他的做法会让你以为这是他待的第一个乐队。试音时你会看到他绕圈圈，傻傻在蹦跶。对他来说，再度拥有乐队是一件很新奇的事情--他也是这样应对的。"

The sound checks are shows in themselves. McCartney doesn’t run through any of the songs in the regular production; instead, he leads the band through a batch of oldies (Carl Perkins’s “Matchbox,” an old Beatles cover, and tracks from the Russian album, like “Just Because” and “Don’t Get Around Much Anymore”), the Wings B side “C Moon,” the jaunty British music-hall number “Me Father Upon the Stage” and a Latin-hustle medley of Beatles songs.

试音本身就是一场演出。通常人们会过一遍歌单，但McCartney不这样。他会带着乐队演一些老歌(Carl Perkins的“Matchbox,” 翻唱披头士的歌，俄罗斯独家专辑里的歌, 类似 “Just Because” and “Don’t Get Around Much Anymore”这种。)Wings的B面单曲“C Moon”，英式音乐厅的欢快曲目 "Me Father Upon the Stage "和披头士曲目的拉丁风串烧。

“He’s a real clown,” Wix says quite admiringly. “He loves to show off, and he loves to be there doing it, making people laugh.”

And sure enough, onstage you can see by the light of his beaming, vintage Beatle Paul smile and the way he throws himself into the sixteen Beatles songs featured in the show that no one is enjoying this forward-into-the-past expedition more than McCartney himself.

“It’s twenty years, man,” McCartney says a bit wearily in response to the questions that have dogged him the whole length of the tour — why Beatles songs, and why so many?

"他真的是个小丑式人物。"Wix相当佩服地说。"他喜欢炫技，喜欢在台上搞笑让观众快乐。"

在舞台上，你可以从他那笑容满面、复古的披头士Paul的笑容，以及他投入演出中的十六首披头士歌曲中的方式看出来，没有人比他本人更享受这种向着曾经去探索的征途。

麦卡特尼有些疲惫地回答了困扰他整个巡演的问题--为什么是披头士的歌，为什么这么多？

“You can’t keep angry forever, twenty years after an event that hurt,” he says, referring to the band’s acrimonious breakup. “Time is a great healer.”

谈起披头士乐队的激烈解散，他说道，"已经二十年了，老兄，二十年前的事我再心痛，也不可能永远生着气。时间很能疗伤。"

McCartney explains that in preparation for the tour he actually sat down with pen and paper and drew up a list of his favorite Paul McCartney songs, Beatles and otherwise. He came up with so many of them that at one point there was talk, briefly anyway, of doing two completely different shows in each city. “I’d said to myself, ‘You’re a composer,'” he says. “‘There’s no shame in doing these songs.'”

他解释说，“准备巡演时自己真的拿着纸和笔，坐下来，写了一份他心中的Paul McCartney最佳曲目，其中包括披头士乐队和其他时期写的。单子太长了，甚至一度提到要在每个城市做两场完全不同的演出。"我对自己说，'你是作曲人'，"他说，"'演这些歌并不丢人'。"

The songs of late partner John Lennon were a different matter. “In fact, I considered doing a major tribute to John,” says McCartney. “But it suddenly felt too precious, too showbiz. I was going to have a whacking great picture of John and just say, ‘He was my friend.’ Which was true. I’m totally proud to have worked with him.

演出已故搭档John Lennon的作品则含义不同。“我其实考虑过加一个John的致敬环节，但这回忆对我来说太珍贵，这环节也太作秀了。我本想挥着一张John的照片说，‘他是我的朋友’，这是真的，能与他合作我真的很骄傲。”

“But then people started saying, ‘Why don’t you do “Imagine”?’ And I thought, ‘Fucking hell, Diana Ross does “Imagine.” They all do “Imagine.”‘ That’s when I backed off the whole thing. You go on tour, you sing your songs, arrange ’em nice, do it, and if you do it well enough, that’s what people will remember.”

“但人们又要说了，‘为啥不唱Imagine?’我就觉得，‘草了，Diana Ross也唱过Imagine，所有人都唱Imagine’。于是我退却了。我就想着去巡演，唱着自己的歌好好编排，如果做得够好，大家是会记住的。”

Paul McCartney was rather late out of the starting gate for the 1989 Dinosaurs on the Road Sweepstakes, eating the dust already kicked up during the summer and early fall by the Who, the Rolling Stones and even Ringo Starr. But he’s not bugged either about his membership in the club — “I’m another dinosaur,” he says frankly — or by the implicit pressure to prove his viability as a contemporary artist to an audience obsessed by his past, if necessary at the expense of his peers.

【这段的典故没咋看懂，也没查到，有无老师解答？】

“It’s never stopped,” says McCartney, sitting on a bench in the Montreal Canadiens’ locker room while a sold-out house awaits him inside the Forum next door. “I will never stop competing with every other artist in this business. Pet Sounds kicked me to make Pepper. It was direct competition with the Beach Boys. So what? That’s what everyone’s doing. Although when Brian Wilson heard Pepper, he went the other way.

“竞争从来没有停止过，”他说，在更衣室里坐在板凳上，隔壁漫长的人都在期待着他演出。“我永远不会放弃和这行艺术家们竞争的。Pet Sounds促使我推动Sgt. Pepper项目，这是和the Beach Boys直接竞争，但又怎样呢？大家都这么做。虽然Brian Wilson听完Sgt. Pepper，他就调转枪头啦。”

“But, yeah, it’s competition. If you put ten children in a room, after an hour or so, they’ll sort themselves out. The smart one. The big, tough one. The cowardly one. The funny one who’s the friend of the smart one and the big, tough one. They will establish a pecking order.”

And where does McCartney place himself in rock’s pecking order?

“I’d put me at the top. Just because I’m a competitor, man. You don’t have Ed Moses going around saying, ‘Sure, I’m the third-best hurdler in the world.’ You don’t find Mike Tyson saying, ‘Sure, there’s lots of guys who could beat me.’ You’ve got to slog, man. I’ve slogged my way up from the suburbs of Liverpool, and I am not about to put all that down.”

“但竞争就是这样。你让10个孩子在一个屋子里，过一两个小时，他们就分出区别了。聪明孩子，壮硕孩子，强悍孩子，怂孩子，以及和聪明孩子壮硕孩子强悍孩子关系都很好的搞笑孩子。他们自己就会分等级。”那McCartney认为自己在哪一级呢？

“我觉得自己是最高一级，因为我确实很有竞争力。你看不到Ed Moses到处说：‘我是世上第三好的跨栏选手哈。’也不会发现Mike Tyson说，"很多人都能打倒我啊。”人必须要努力啊，伙计。从利物浦的郊区一路打拼上来，我不会放弃这一切的。"

Nor is he about to let all that go forgotten. With the key Beatles lawsuits settled, he’s keen to go ahead with the long-discussed authorized Beatles film biography, The Long and Winding Road, although the project hit an early snag in terms of finding a director. McCartney mistakenly attempted to solicit interest from top screen talent by sending form letters outlining the project to the likes of Steven Spielberg, Ridley Scott and Michael Apted. “George [Harrison], who’s in the film business, went, ‘Major no-no, man, we shouldn’t have done that.’ And he should have stopped me. It was a mistake.”

他也不打算让这一切消失于记忆深处。随着披头士乐队关键官司解决了，他开始积极推进讨论已久的乐队授权电影传记The Long and Winding Road，虽然在找导演时就早早遇到了阻碍。他错了，他试图征求顶级大导的兴趣，他向Steven Spielberg, Ridley Scott 和Michael Apted等人发送了邀约。"涉足电影行业的乔治说，'可千万别，咱不能这么干。’他确实该阻止我，这决定是错误的。"

Yet having willingly reawakened the Beatlemania beast with his current show, Paul McCartney enters the Nineties with a new variation on his old Seventies dilemma: How do you follow an act like the Beatles — again? He talks of making a new album with his touring band, and he’s halfway through a major orchestral and choral piece, written with British conductor Carl Davis, to be debuted during the 150th-anniversary celebrations of the Royal Liverpool Philharmonic next year. More important, though, he’s come to realize that you don’t follow an act like the Beatles. You learn to live with it, and learn from it.

Paul McCartney通过他目前的巡演，有意唤醒了人们对披头士的狂热。进入九十年代后，他对这七十年代的老难题态度又有了变化：如何重现披头士的行事作风？他说自己会和巡演乐队一起制作一张新专辑，和英国指挥家Carl Davis共同创作的大型管弦乐和合唱作品也已经完成了一半，将在明年皇家利物浦爱乐乐团150周年庆祝活动中首次亮相。但更重要的是，他已经意识到，自己不能重现披头士的作风了，而是要学会与之共存，并从中学习。

“I’ve already done the thing where you go out and shun the Beatles,” says McCartney. “That was Wings. Now I’ve done this whole thing. I recognize that I’m a composer and that those Beatles songs are a part of my material.

“出门演出，假装自己不是个披头，这事我已经干过了，就是Wings。我现在想要的，是意识到自己是一位作曲人，而披头士的歌曲是我作品的一部分。”

“The only alternative is that I turn my back on it forever, never do ‘Hey Jude’ again — and I think it’s a damn good song,” he says before heading out onstage, where he’ll play it again for a grateful crowd. “It would really be a pity if I don’t do it. Because someone else will.”

“另一个选项是，我得永远无视披头生涯，永远不能唱Hey Jude。可这真tm是首好歌。”他上台演出前说着，“如果我永远不唱那就太可惜了，因为会被别人唱掉的。”

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thedraganuzelac · 5 years

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’’A day in the life“ by JOHN LENNON

A day in the life(1967.) bila je prva pesma Bitlsa koju su počeli da snimaju za album ,, Sgt.Pepper's lonely hearts club band“( nakon što su dve prethodno snimljene pesme - ,,Strawberry fields forever“ i ,,Penny Lane“ morale zbog ranije ugovorenih obaveza da budu objavljene kao singl i zbog pravila industrije ntog vremena nisu mogle da se nađu na pomenutom albumu, iako su prvobitno bile osmišljene kao početak istog)... Osmišljena sama za sebe, ona je u osnovi bila još jedna misaona epizoda u paralelnom svetu njenih autora – Lenona i Mekartnija, a neko unapred smišljeno epohalno finale albuma koji je tek bio u začetku ... Ona je predstavljala kompleksnu pesmu o kojoj je napisano mnoštvo besmislica i nešto što je pogrešno tumačeno kao evociranje lošeg LSD tripa Bitlsa, njihov povratak stvarnosti nakon opijenosti halucinogenima, pusta zemlja u pop obliku ili čak morbidno slavljenje smrti ... Reč je zapravo bila o kreativnom iprodukcijskom remek-delu, pesmi sastavljenoj iz dva dela: Lennonu je nedostajala sredina, a McCartney nije imao početak. Bio je to vanvremenski kreativni spoj nenadmašnog autorskog tandema Lennon-McCartney, pesma predodređena LSD-jem, prepuna slikovitih asocijacija, prikrivenih značenja... sa orkestarskim klimaksom u sredini i na kraju. Lennon je naprosto osvojio kritičare...

Čitam vesti danas,oh,čoveče

O srećniku koji je uspeo u životu

I iako je vest bila prilično tužna

Pa prosto sam morao da se nasmejem

Video sam sliku

Razmrskao je glavu u autu

Nije primetio da su se svetla promenila

Gomila ljudi je stajala i buljila

Videli su njegovo lice ranije

Niko nije bio siguran da li je on bio iz Doma lordova

Video sam film danas,oh,čoveče

Engleska vojska je upravo dobila rat

Gomila ljudi se okrenula

Ali ja sam morao da pogledam

Čitao sam knjigu

Voleo bih da te uključim ...

Probudio se

Ustao iz kreveta,

Provukao češalj preko glave

Sišao dole i popio šolju

I pogledavši primetio sam da kasnim

Pronašao svoj kaput

I zgrabio šešir

Stigao na bus u sekundi

Popeo se na gornji sprat i pripalio

A neko je govorio

I utonuo sam u san

Laa la la la

La la laa-aah

Laa-aah laa

La la laa-aah

Čitam vesti danas,oh,čoveče

Četiri hiljada rupa u Blekburnu,Lankašir

I iako su rupe bile prilično male

Morali su sve da ih izbroje

Sada znaju koliko rupa je potrebno da se ispuni Albert Hall.

Voleo bih da te uključim ...

U tih sedam minuta finala ploče sažeta su gotovo sva iskustva Bitlsa iz tog perioda: paranoja modernog življenja, aluzije na marihuanu, apstraktno mišljenje kao sredstvo umetničkog oskobađanja, događaji koji su sa žurnalističkom preciznošću ubacivali u sadržaj svoje slike sveta.

Bio je to kratkometražni nadrealistični film ispričan jezikom zvuka, uzbudljiv i neočekivan u obrtima, dramatičan po snazi, ironičan i dvosmislen. Bio je to apsolutni trijumf Beatles ludila i kreacije tandema koji su mnogi smatrali jednim od najboljih u 20.-om veku...

... A day in the life remek-delo Bitlsa pod snažnim uticajem LSD-a predstavljao je pesmu o percepciji i ona se ,,stvarnosti“ ticala samo po tome što je LSD otkrio da je stvarnost velikim delom samo u oku posmatrača. Ona je predstavljala razočaranost Bitlsa granicama isprazne percepcije - ,,stvaran“ svet je opisan ovom pesmom kao neprosvetljena konstrukcija koja sputava i uništava doživljaj umetnika i njegov pogled na sveukupnost života, nesputanost kreativne bezgraničnosti ...

... U prvoj strofi pesme Lenon se poziva na smrt Tare Brauna, mladog britanskog milionera, prijatelja Bitlsa, priču zasnovanu na izveštaju u novinama ,, Dejli mejl“ od 17. januara 1967. ... Tara Braun, kao pripadnik londonske subkulturne scene i uživaoc narkotika za proširenje uma, gine 18. decembra 1966. u saobraćajnoj nesreći zakucavši se( prethodno proletevši kroz crveno svetlo na semaforu velikom brzinom) u parkirani kombi ... Turobna žalost muzike koju je Lenon komponovao pokazuje hladnu distanciranost i izdvojen pogled posmatrača tog tragičnog događaja kojeg jedino zanima slava tog mrtvog čoveka, iskarikirana u spektakl, koji skreće od neostrašćenog ka bezosećajnosti...

... Druga strofa proizilazi iz događaja koji Lenon nasumično pronalazi na sledećoj strani novina ,, Dejli mejl“: ,, Na jednom putu u Blekburnu, Lenkšir, ima četiri hiljade rupa, odnosno jedna dvadesetina rupe po čoveku, prema opštinskoj anketi“. To je, pojačano nadrealnom referencom na kružni viktorijanski koncert u Albert holu, bila poslednja strofa ... Između toga Lenon ubacuje strofu gde posmatrač gleda kao engleska vojska dobija rat( moguća aluzija na Vijetnamski rat). Bila je to ironično-nadrealna priča, lenonovska fascinacija apsurdom, o uticaju medija na otuđenost među ljudima, kao i poruka da je život san ... uz koju idu dva uznemirujuća orkestarska glisanda kao simbolika buđenja čoveka iz sna i njegovo duhovno uzdizanje – u E duru ... Lenon je tokom snimanja orkestarskog, apokaliptičnog dela ove LSD epopeje tražio od producenta Džordža Martina ,, zvuk kao da je smak sveta“! ...

... Na sve prethodno navedeno Mekartni dodaje svoj deo – duplo ubrzani srednji deo pesme, fragment o njegovim školskim danima koji u kontekstu ove pesme postaje skica deprimirajuće, isprazne rutine života ...

Nakon stihova I'd love to turn you on sledila je više nego jasna poruka ove magične psihodelične drame tmurne svakodnevnice propuštene kroz psihodelični Lennon-McCartney filter : ŽIVOT JE SAN, a mi, kao sanjari, imamo moć da ga učinimo fantastičnim ... Orkestarski klimaksi unutar pesme simbolično su prikazivali buđenje iz sna i čovekovo spiritualno uzdizanje ... Bio je to vrhunac pop muzike, na neki kreativni način džojsovsko-fineganovo buđenje svesti iz sna o životu, prolaz kroz vrata percepcije na neku drugu, samo probuđenima znanu stranu, prelazak rokenrola iz adolescentske faze bezbrižne zabave u ozbiljnu i zrelu umetničku formu ...

... Urađena za 36 sati snimanja u ,,Abbey road“ studijima( tokom početka 1967.), pesma ,,A day in the life“ ostaje vrhuncem vanvremenskog Bitls stvaralaštva... Bila je to zvučna, psihodelična poema koja je nadrealnom igrom rečima i nestvarnom zvučnom kulisom naslikala boje jednog jedinstvenog, više no kreativnog vremena i čudesne, buntovne i snolike epohe sanjara čija je percepcija otvorila neke nove, kreativne horizonte i poglede na sve(t) ...

By Dragan Uzelac, 31. decembar 2018.

0 notes

topazthecat · 6 years

Text

Many Famous Successful Rock Musicians praising The Beatles

Here are many famous successful rock musicians etc praising The Beatles including The Early Beatles.Ozzy Osbourne has been a big Beatles fan since he was an early teenager,and he picked She Loves You as one of his favorite songs for Rolling Stone Magazine’s 500 Greatest songs and Sgt.Pepper is one of his favorite albums. He says that not loving The Beatles is like not loving oxygen and he called The Beatles the greatest band to ever walk the earth.Here Ozzy Osbourne says that he doesn’t anyone will ever be as great as The Beatles and he said they were all great,even George Harrison and Ringo Starr were great.

https://www.youtube.com/watch?v=FD0_MtCDcQQHere is a video of Ozzy Osbourne meets Paul McCartney for the first time and they hug each other.

https://www.youtube.com/watch?v=EkudA0P27Q0

When Ozzy Met Paul McCartney

When Ozzy Osbourne met Paul McCartneywww.youtube.com

Here Ozzy Osbourne says how hearing She Loves You at age 15 inspired him to go into music.

http://www.belfasttelegraph.co.uk/entertainment/news/ozzy-osbourne-beatles-moved-me-30320049.html

Here both Ozzy Osbourne and Tom Petty praise The Beatles,the early Beatles in this clip but The Beatles in general.

https://www.youtube.com/watch?v=CCnjnE0c0RE

In this August 1971 interview in Rolling Stone Magazine that I posted on here a few days ago, Keith says that The Rolling Stones in their early days experienced hysteria like Beatlemania from female fans,and screaming where they couldn’t be heard while playing live and that there were no monitors in those days.He also says that The Beatles are so f*cking good at what they did it’s a shame they broke up in such a tatty way.

https://www.rollingstone.com/music/music-news/keith-richard-the-rolling-stone-interview-238909/

Keith Richard: The Rolling Stone Interview – Rolling Stone

Music, Film, TV and Political News Coveragewww.rollingstone.com

Keith Richards holds an I Love The Beatles Sign in 2016

https://s-media-cache-ak0.pinimg.com/736x/d2/2e/2d/d22e2ddd2a45b388abc093fc2775844a.jpg

In this 2008 interview asking Keith Richards who the five greatest bands ever are besides The Rolling Stones,he said obviously he put The Beatles in there. This was 6 years of course before he ridiculously criticized The Beatles brilliant Sgt.Pepper album that The Rolling Stones tried but failed to copy and equal.Keith also says in this interview that he’s not going to say The Who or Led Zeppelin because he would be lying because they are not his favorites.

https://www.youtube.com/watch?v=zNKckhYqNBk

Living Legends - Rolling Stones: Best Bands

Keith Richards of the Rolling Stones answers the question "Other than the Stones, who are the greatest 5 rock bands of all time?" Original Question:

http://www.youtube.com/watch?v=AN1ShGwMS2swww.youtube.com

Bob Dylan talks of Beatles friendship Legend admits: ‘I’m in awe of McCartney'May 16, 2007

Bob Dylan has spoken in depth about his longstanding friendship with The Beatles and his particular bond with George Harrison.Talking to Rolling Stone magazine,Dylan talked freely about Harrison’s struggle to find his voice within the songwriting collective of John Lennon and Paul McCartney.“George got stuck with being the Beatle that had to fight to get songs on records because of Lennon and McCartney.

Well, who wouldn’t get stuck?” he asked.Dylan highlighted the writing talents of Harrison, saying: “If George had had his own group and was writing his own songs back then, he’d have been probably just as big as anybody.”Speaking against popular belief, the singer also denounced any rumours of competitiveness towards Lennon and McCartney, asserting, “They were fantastic singers.Lennon, to this day, it’s hard to find a better singer than Lennon was, or than McCartney was and still is.

”Nodding his cap to McCartney in particular,Dylan concluded: “I’m in awe of McCartney. He’s about the only one that I am in awe of. He can do it all. And he’s never let up… He’s just so damn effortless.”

http://www.nme.com/news/bob-dylan/28350

Bob Dylan talks of Beatles friendship - NME

Legend admits: 'I'm in awe of McCartney' www.nme.com

Here in this article by Ger Tillekens about The Beatles chords,Bob Dylan is quoted saying what he thought in 1964 about The early Beatles music,he said that they were doing things nobody was doing and that their chords were outrageous,just outrageous and their harmonies made it all valid.

http://www.icce.rug.nl/~soundscapes/VOLUME03/Words_and_chords.shtml

Words and chords. The semantic shifts of the Beatles' chords

In the Beatles' songs each of the basic chords can be replaced by several other types of chords. Separated by minor third intervals, the tones of these stand-in chords show a diagonal relationship. This principle of diagonal substitution helps the listeners to understand the songs musically. Closer study of the early Beatles' songs reveals yet another point of support.

www.icce.rug.nl

Here in Rolling Stone Magazine’s 100 Greatest Song Writers Bob Dylan( who is the number 1 greatest song writer,and John Lennon is number 3,and Paul McCartney is number 2.) is quoted about a car trip when he heard a lot of Beatles songs on the radio, he said they were doing things and that he knew they were pointing the direction where music had to go.

http://www.rollingstone.com/music/lists/100-greatest-songwriters#john-lennon

Here Brian May of Queen says Im mean I’m the biggest Beatles fan on earth,I mean I would have voted for all of The Beatles songs he was referring to a music poll.Queen Interviews - Brian May - XX-XX-2002 - Richard and Judy - Queen Archives: Freddie Mercury, Brian May, Roger Taylor, John Deacon, Interviews, Articles, Reviews Queen Interviews - Brian May - XX-XX-2002 - Richard and …

Interviews Brian May Interviews > XX-XX-2002 - Richard and Judy. Transcribed by DQ from Queen online. Judy: Bohemian Rhapsody has just been voted number 1 in a poll of the greatest singles ever.

www.queenarchives.com

Brian May says The Beatles were Queen’s bible.Beatles Songwriting Academy: Under The Influence:Brian May Many well known musicians say how influenced they are by The Beatles.

Beatles Songwriting Academy: The Night That Changed American Music: The Beatles On Ed Sullivan 11 Musicians Influenced By The Beatles

http://www.rockcellarmagazine.com/2014/02/04/top-11-musicians-influenced-by-the-beatles-50th-anniversary/#sthash.na2BTdhg.dpbs

10 Musicians Who Saw The Beatles Standing There

https://www.cbsnews.com/news/10-musicians-who-saw-the-beatles-standing-there/

Bruce Springsteen, Billy Joel and Tom Petty recall where they were when the Beatles hit "The Ed Sullivan Show"

stagewww.cbsnews.com

In a Mojo interview with Pink Floyd’s ( who I never liked) David Gilmore who says he wished he had been in The Beatles and that he learned everything from them, to play bass, and lead guitar and rhythm from them and that they were fantastic!

www.mojo4music.com/21435/david-gilmour-covers-the-beatles-for-mojo/

In this recent TV interview David Gilmore was asked if he thinks Pink Floyd is the best band ever and then The Beatles,David says no The Beatles are the best.

https://www.youtube.com/watch?v=fY6YIXxDi-s

David Gilmour claims that The Beatles are the best band ever

FACEBOOK: https://www.facebook.com/johnonolennono/

“I really wish I had been in the Beatles,” Gilmour reveals in the Mojo interview. “[They] taught me how to play guitar; I learnt everything. The bass parts, the lead, the rhythm, everything. They were fantastic.” Arguably one of the greatest bands of the 20th century, Pink Floyd’s ...

www.youtube.com

Tom Petty On What The Beatles Mean To Me Tom said that when he saw The Beatles on The Ed Sullivan show as a kid he thought they were really,really great.

http://www.musicradar.com/news/guitars/tom-petty-what-the-beatles-mean-to-me-219800

Tom Petty: what The Beatles mean to me

Music Radar www.musicradar.com'

Music Gear, Equipment, News, Tutorials & Reviews | MusicRadar

Get up to the minute news and reviews for all music

makers www.musicradar.com

Most magic is a trick, an illusion. But [when The Beatles played the Ed Sullivan Show], this was real. Man oh man, was it real.'I think the whole world was watching …

Bon Jovi’s Richie Sambora On What The Beatles Mean To Me Richie says he became a Beatles fan at age five when he watched them on Ed Sullivan.

https://www.musicradar.com/news/guitars/bon-jovis-richie-sambora-what-the-beatles-mean-to-me-219479

Aerosmith’s Joe Perry On What The Beatles Mean To Me

https://www.musicradar.com/news/guitars/aerosmiths-joe-perry-what-the-beatles-mean-to-me-219308

Alan White from Yes:What The Beatles Mean To

https://www.musicradar.com/news/guitars/alan-white-from-yes-what-the-beatles-mean-to-me-219747

Alan White from Yes: What The Beatles mean to me MusicRadar

It's not every day a Beatle calls you and changes your life forever. But that's what happened to Alan White in 1969. Before he began his nearly 40-year-career as the drummer for Yes, White received a phone call from a man who said he was John Lennon.

www.musicradar.com

Also in an excellent Beatles book Ticket To Ride by Denny Somach where so many other well known popular respected rock musicians and artists are interviewed about The Beatles praising them including ,Brian Wilson who says he’s always loved The Beatles.

And Brian Wilson called John and Paul the greatest song writers of the 20th century on a 1995 Nightline Beatles tribute show,(which had on music artists from every type of music,a young black jazz musician,a middle aged black opera singer,Steve Winwood,Meatloaf,and classical violinist Isak Perleman,who said he plays his children Bach,Beethoven Mozart and The Beatles)and he played With A Little Help From My Friends on the piano and he said he just loves this song. He also said that Sgt.Pepper is one of the greatest albums he ever heard and The All Music Guide says in their Beach Boys biography,that Brian had a nervous breakdown after he heard it.

http://www.allmusic.com/artist/the-beach-boys-mn0000041874/biography

Brian also said that when he first heard The Beatles brilliant 1965 folk rock album Rubber Soul he was blown away by it.He said all of the songs flowed together and it was pop music but folk rock at the same time and he couldn’t believe they did this so great,this inspired him to make Pet Sounds.

Brian Wilson has always said that he made the Pet Sounds album because he was so blown away by The Beatles brilliant folk rock album Rubber Soul when he heard it soon after it came out in December 1965.

http://smileysmile.net/board/index.php?topic=9547.0;wap2

Brian Wilson on the Beatles' "Rubber Soul" album

Brian Wilson on the Beatles' "Rubber Soul" album (1/1) Googa Mooga: from

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/beatles/article6818698.ecesmileysmile.net

Here in this 2011 interview Brian Wilson says that he thinks Rubber Soul is a better album than Pet Sounds and that he thinks Rubber Soul is the best album ever.

http://www.nme.com/news/music/the-beach-boys-35-1286165

Brian Wilson says 'Pet Sounds' isn't as good as The Beatles' 'Rubber Soul' - NME

Wilson says his band's classic LP is 'good, but not the best' www.nme.com

John Lodge and Justin of The Moody Blues are interviewed in this book and Bill Wyman and Ron Wood says how The Rolling Stones became good friends with The Beatles in 1963 after John and Paul wrote 1 of their first hits,the Rock n Roll song, I Wanna Be You’re Man.

And John and Paul wrote it right in front of keith Richards and Mick Jagger who were really impressed that they could write a song just like that and it inspired them to start writing their own songs and both bands became good friends from then on.Mick Jagger was at 4 Beatles recording sessions and Keith Richards was at 2 of them with him.

Ron Wood was asked what his favorite Beatles songs and he said there are so many apart from the obvious like Strawberry Fields I Want To Hold Your Hand is one he said he used to like a lot ,and he said he really loved We Can Work It Out.

He also says that The Beatles used to have a radio show every Friday where they played live and spoke and he would never miss an episode. He said in fact whoever has the rights to those shows should dig them up,because they are incredible.Justin Hayward says that the album he always really loved ,and he said it was when they started experimenting with chord structures ,was A Hard Day’s Night.He says they began to move away from the standard 3 chord thing and just went into more interesting structures .

He said A Hard Day’s Night was the album for him and their song If I Fell was the song.He said it started in a different key to how it ended up,and it’s a beautifully worked out song and that there are some songs on that album that were very emotional and evocative. He said that for everybody just starting to write songs as he was,it was a real turn on and eye opener.

Geddy Lee interview about being a huge fan Paul McCartney’s great inventive bass playing.

https://www.youtube.com/watch?v=5BgrGhzD7qI

Geddy Lee On Paul McCartney's Influence On His Bass Playing

www.youtube.com

Bassist John Clayton on working with Paul McCartney says like everyone else he grew up with Paul’s music and was a fan

https://www.youtube.com/watch?v=I9YAM0A8Aoc

Bassist John Clayton on Paul McCartney

In this segment of an interview with John Clayton during the 2013 Jazz Cruise, the bassist talks about working with Paul McCartney on the former Beatle's "Kisses on the Bottom" album. During the Jazz Cruise, John performed with the Clayton Brothers, as well as in a trio with his son Gerald Clayton on piano and Jeff Hamilton on drums. Hamilton ...

www.youtube.com

Here is what Sting,Stanley Clarke,Billy Sheehan, Will Lee, John Lennon, and George Martin,say about what a great melodic and influential bass player Paul has always been.It’s on a very cool and great extensive site,The Evolution of Rock Bass Playing McCartney Style.

http://www.recmusicbeatles.com/public/files/faqs/bass.html

THE EVOLUTION OF ROCK BASS PLAYING;McCARTNEY STYLE

1964/1965 Relative obscurity for a while. '64/'65 were not banner years for the development of rock bass playing. As always, his playing was tasteful and right in the groove.www.recmusicbeatles.com

THE EVOLUTION OF ROCK BASS PLAYING;McCARTNEY STYLE

www.recmusicbeatles.com1964/1965

Relative obscurity for a while. '64/'65 were not banner years for the development of rock bass playing. As always, his playing was tasteful and right in the …

And Wilco’s John Stirratt was asked in Bass Player in February 2005 which bass players have had the most impact on his playing and the first thing he said was, Paul McCartney is one of the greatest bass players of all time,if you listen to what he was tracking live in the studio it’s unbelievable.“ "With his tone and musicality he was a huge influence,he covered all of his harmonic responsibilities really well but his baselines were absolutely melodic and inventive.”

http://connection.ebscohost.com/c/articles/15716769/windy-city-wingman-john-stirratt-lays-roots-wilco

In this online 1977 Eric Clapton interview,Eric Clapton In His Own Words he says that there was always this guitar game between John and George,and he said partly because John was a pretty good guitar player himself Eric was referring to John’s Beatles years .But he also played live with John as a member of John’s 1969 Plastic Ono Band.

https://www.superseventies.com/ssericclapton.html

Eric Clapton - In His Own Words - Super Seventies

t a certain point the Yardbirds started getting package tours, with the Ronettes, Billy J. Kramer, the Kinks, the Small Faces, lots of others, and we lost our following in the clubs.

www.superseventies.com

In this 2013 interview with Eric Clapton he says John Lennon was a great musician,amazing song composer and friend.

http://timesofindia.indiatimes.com/entertainment/hindi/music/news/John-Lennon-does-not-need-any-definition-Eric-Clapton/articleshow/20241104.cms

Old Sock: John Lennon does not need any definition: Eric …

The man, the musician, a living icon. Here’s Eric Clapton talking about his music, his memories of John Lennon, his influences and much, much more.

And there is a great online article by musician and song writer Peter Cross,The Beatles Are The Most Creative Band Of All Time and he says that many musicians besides him recognize Paul as one of the best bass guitar players ever.

He too says that John and Paul are the greatest song composers and that to say that John and Paul are among 2 of the greatest singers in rock and roll is to state the obvious,and that John,Paul and George were all excellent guitarists and that George is underrated by people not educated about music but that Eric Clapton knew better,he also says that both John and Paul played great leads as well as innovative rhythm tracks.

http://ezinearticles.com/?The-Beatles-are-the-Most-Creative-Band-of-All-Time&id=222245

The Beatles are the Most Creative Band of All Time

The Beatles phenomenon went way beyond any kind of stardom that had ever been seen before because of their creative songwriting abilities, their musical abilities and their charismatic personalities. The Beatles are still the best selling classic rock...

ezinearticles.com

John Lennon co-wrote,sang and played guitar on one of David Bowie’s first hits Fame in 1975 and David invited John to play guitar on his version of John’s beautiful Beatles song Across The Universe and they were good friends in the 70’s although John was even closer to Elton John who is Sean Lennon’s Godfather.

PHIL COLLINS ON NEW BEATLES DVD

Phil Collins says Ringo was a fantastic drummer and George Harrison was a great guitar player. Phil has been a big Beatles fan since he was 13 and he was in the concert audience in The Beatles first film,a Hard Day’s Night in 1964.Worlds Greatest Drummers Salute Ringo Starr

https://www.youtube.com/watch?v=38sevKcgMwkhttps://www.youtube.com/watch?v=38sevKcgMwk

In 2010 I read an online article that had an interview with Ernie Isley of The Isley Brothers about a recent tribute to Jimi Hendrix, in which he says that Jimi played for The Isley Brothers and lived with them and that they all became Beatles fans after they all watched them on The Ed Sullivan Show in February 1964. I always thought that Jimi was only a later period Beatles fan, I knew he played Sgt.Pepper live the weekend it came out,and he played Day Tripper live also,& several people on different message boards said that when he was asked where the direction of music was going,he said ask The Beatles.

Classical composer Leonard Bernstein called John and Paul the greatest composers of the 20th century so did Elton John on a 1991 CBS Morning news show,he was asked who he musically admires and he said you can talk about your Rogers and Hammerstein but for the quantity of quality songs that Lennon and McCartney wrote in that short period of time,he said he thinks they were the greatest song writers of the 20th century.Brian Wilson said this too on a 1995 Nightline Beatles tribute show.

In February of 2000 The Beatles got the

New Music Express award for The Best Band Ever and Paul Mccartney picked it up.

https://www.nme.com/awards-history/2000-606150

2000 - NME

It took place at London’s Mermaid Theatre on February 1st, Paul McCartney was guest of honour at the Awards, picking up an gong on behalf of The Beatles who were voted the Best Band Ever.www.nme.com

It took place at London’s Mermaid Theatre on February 1st, Paul McCartney was guest of honour at the Awards, picking up an gong on behalf of The Beatles who were voted the Best Band Ever.

George Martin Says In This book his biography,All You Need is Ears,There’s No Doubt Lennon and McCartney Were good Musicians,They Had Good Musical Brains and The Brain Is Where Music Originates,It Has Nothing To Do With Your Fingers, As It Happened They Could All Play Their Own Instruments Very Well,And that Paul is an excellent music all- arounder, probably the best bass guitar-player there is, a brilliant guitarist,a first class drummer and a competent piano player.

George Martin said in The Beatles early days he tried to learn to play the guitar in order to have a better musical communication between him and The Beatles,but he couldn’t learn it and gave it up,but he says that John and Paul learned to play the piano far more quickly than he was able to master their instrument.

https://books.google.com/books?id=4Yoio9MewhcC&pg=PA138&lpg=PA138&dq=George+Martin+There%27s+No+doubt+Lennon+and+Mccartney+were+good+musicians+they+had+good+musical+brains&source=bl&ots=nYJA7hNySD&sig=9ZYbClxTT622ML_VbRmh5QT4UOE&hl=en&sa=X&ved=2ahUKEwj0hLu5qZbeAhWRVN8KHX5aCOAQ6AEwD3oECAIQAQ#v=onepage&q=George%20Martin%20There's%20No%20doubt%20Lennon%20and%20Mccartney%20were%20good%20musicians%20they%20had%20good%20musical%20brains&f=false

Graham Nash also said in this TV interview that The Beatles were the best band in the world no question about it.

https://www.youtube.com/watch?v=Sd4NstnaEk8

Graham Nash On The Beatles

The Foxhole Graham Nash On CSNY & The Hollies

https://www.facebook.com/RockRollMerseybeatBritishInvasionTheSwingingSixtie/www.youtube.com

Lenny Kravitz has always been a big Beatles fan too.

http://ultimateclassicrock.com/lenny-kravitz-beatles-letterman/

Lenny Kravitz Covers the Beatles on 'Letterman'

Lenny Kravitz covered the Beatles' 'Get Back' on 'Late Night With David Letterman' on February 5, 2014.

ultimateclassicrock.com

Lemmy of Motorhead was also a big Beatles fan from the time he saw them play live in The Cavern club in Liverpool when they were still working their as*es off to make it big.

https://www.vice.com/en_us/article/3bpq3v/lemmy-217-v16n11

Lemmy - VICE

I thought about trying to make the intro to this interview sound like an impartial journalist wrote it. But fuck that. Lemmy is my hero and I'm not going to try and hide it.

www.vice.com

Most music artists want to believe and want the public to believe that *they * are the greatest so when they say that another band or solo artist is the greatest over their own bands and solo selves it really means a lot.There probably are other famous successful musicians that I don’t know of right now who have also praised The Beatles too.

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rollingstonemag · 7 years

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Un nouvel article a été publié sur http://www.rollingstone.fr/nathalie-kosciusko-morizet-entre-janis-joplin-et-les-stones-son-coeur-vacille/

Nathalie Kosciusko-Morizet: entre Janis Joplin et les Stones, son coeur vacille

Chaque mois dans Rolling Stone, une personne du monde du spectacle, du sport ou de la politique dévoile sa passion pour le rock. Nouvel épisode avec celle qui était la seule candidate à la primaire de la droite, Nathalie Kosciusko-Morizet. Totalement décomplexée côté musique, elle aime les chansons anglo-saxonnes « à voix », plutôt pêchues et habitées. Comme le courant passe entre l’Amérique et l’Angleterre, elle a trouvé refuge musical auprès de Janis Joplin, ou encore des Stones.

Par Philippe Langlest

Soutien parmi les soutiens de François Fillon et déçue de la primaire de la droite, Nathalie Kosciusko-Morizet est en marge du milieu traditionnel de la politique française, qui est dominé par des hommes, et affiche un parcours qui force le respect (polytechnicienne spécialisée en biologie, Secrétaire d’Etat chargé de la Prospection et du Développement numérique, Ministre de l’Ecologie, du Développement durable, des Transports et du Logement…).

Candidate malheureuse à la Mairie de Paris face à Anne Hidalgo en Mars 2014, elle rebondit 8 mois plus tard quand Sarkozy reprend les rênes du parti. Adoubée par Sarko, elle occupera le poste de vice-présidente déléguée des Républicains pendant 1 an et 11 jours. Jugée trop rebelle par les Sarkozystes, elle est remplacée par l’ambitieux Laurent Vauquiez. Mais il en fallait plus pour décourager le soldat Morizet qui, regonflée à bloc, s’est lancée dans la course au parrainage pour la primaire à droite avant d’échouer dès le premier tour. Elle a dès lors affiché son soutien à François Fillon, et ne cesse de répéter qu’elle lui reste idéologiquement fidèle.

Sa passion pour le rock grandi à 18 ans avec la découverte de Janis Joplin. Sa voix l’émeut sur « Mercedes Benz », la fascine sur « Me And Boby McGee ». Pour elle, face à la voix de Janis, plus rien ne tient. Au Lycée Louis le Grand, elle découvre les Beatles et les Stones et l’incontournable (I ’Can’t Get No) Satisfaction ». Séduite par la poésie ourlée des Kinks, elle craque sur « Sunny Afternoon » et aime taper du pied sur « You Really Got Me ». Plus tard, elle naviguera entre les Red Hot, Indochine et Amy Winehouse. Aujourd’hui, elle se retrouve sur les sonorités pop-sixties du deuxième album de La Femme.

Septembre 2016: alors en piste pour la campagne des primaires de la droite, NKM accueillait Rolling Stone dans son QG parisien situé au cœur du quartier latin. Silhouette aiguisée, élégante, Nathalie Kosiusko-Morizet tournait en rond. Elle s’asseyait puis se relèvait et finissait par s’installer sur une petite chaise. Face à son bureau, une demi-douzaine d’albums et de singles qu’elle affectionne : Stones, Kinks, Janis Joplin, La Femme…Bien loin de son image de bobo chic parisien, elle nous livrait son panorama rock qui compte autant de fortes têtes que de songwriters inspirés…

Adolescente, comment avez-vous construit votre éducation musicale ?

A la maison, mes parents écoutaient très peu de musique. J’ai juste le souvenir de mon père, qui écoutait en K7 la bande originale du film La Guerre des Etoiles dans la Renault 16 familial quand on partait en vacances. (sourire). A vrai dire, mon éducation musicale, je l’ai faite en compagnie de ma grande sœur qui écoutait dans sa chambre des trucs un peu plus chouettes comme « Waterloo » ou « Gimme Gimme Gimme » du groupe Abba. Questions mélodies, le quatuor suédois maitrisait parfaitement son sujet. Vocalement, Abba possédait une touche vocale très pop, très mélodique, immédiatement identifiable encore aujourd’hui.

Je découvre le rock avec Janis Joplin quand je rentre en prépa’ au Lycée Louis Le Grand à Paris. Sur place, il y avait des internes qui étaient des vrais passionnés de rock. Musicalement, ils étaient majoritairement tournés vers le rock anglais et écoutaient surtout les Stones, les Kinks et les Beatles. Quand j’ai fait mon école d’ingénieur, j’avais pas mal de copains qui apprenaient à jouer de la guitare sur les partitions des Beatles notamment. C’est à ce moment-là, que j’ai commencé à acheter régulièrement des disques de rock.

A cette époque, au niveau des groupes de rock, vous êtes alors plutôt attiré par ce qui se fait en France, en Angleterre ou aux Etats-Unis ?

Quand j’étais étudiante, j’étais très fan des Stones et des Beatles. Il y avait dans le destin des Beatles quelque chose que je trouvais à la fois fascinant et attirant. Le groupe sort des albums essentiels comme Revolver ou Sgt.Peppers et puis soudain en Avril 1970, tout s’arrête pour des problèmes d’égos. Quel gâchis !

En fait, musicalement, je n’ai cessé de faire des allers-retours entre l’Angleterre et les Etats-Unis.

A 20 ans, je vis une période un peu sombre et je suis fasciné par le club des 27 dont font partie Jim Morrison, Jimi Hendrix et évidemment Janis Joplin. Outre-Atlantique, si Janis Joplin a toute de suite ma préférence, je reste partagée pour le reste. La musique des Doors a un côté hypnotique, troublant mais sans la voix de Morrison, le groupe n’aurait sans doute pas connu cette carrière. Le grain vocal très animal de Jimi Hendrix m’interpelle, mais étrangement je n’ai jamais été une inconditionnelle de ces démonstrations guitaristiques. En fait, musicalement, je n’ai cessé de faire des allers-retours entre l’Angleterre et les Etats-Unis.

Revenons à Janis Joplin: avec quel album découvrez-vous sa musique ?

Janis Joplin arrive dans ma période sombre, celle du destin. A ce moment-là, j’avais 2 passions : Jean Anouilh pour le théâtre et Janis Joplin pour la musique. Je découvre son univers musical sur un Greatest Hits puis je me mets à écouter l’album Pearl. Pour moi, Janis Joplin c’est davantage un choix philosophique qu’un choix musical. « Mercedes Benz » et « Me And Bobby McGee » bercent mes journées. Il y avait quelque chose de fascinant dans la vie de Janis, entre cette personnalité public assez punchy, assez acide, réputée forte tête et la personne qu’elle était dans la vraie vie, beaucoup plus fragile et réservée.

https://www.youtube.com/watch?v=sfjon-ZTqzU

Qu’est- ce qui vous plait immédiatement chez elle ?

Janis Joplin a une voix qui vous porte au cœur. C’est une voix déchirée qui porte une vraie souffrance. C’est évident, quand vous l’écoutez sur « Piece Of My Heart » ou « Cry Baby ». Quand elle chante ses chansons, elle n’est pas en train de vous faire mal mais elle vous dit qu’elle a mal.

Votre premier choc musical, c’est Janis Joplin ?

Oui. Mon premier vrai choc musical, c’est la chanson « Me And Bobby McGee » de Janis Joplin.

Passons à Bob Dylan. Artistiquement, vous le préférez à quelle époque ?

Je ne suis pas un dingue de Dylan aujourd’hui. Je préfère le Robert Zimmerman engagé des 60’s avec « Blowin’ In The Wind » ou « Like A Rolling Stone ». Ses paroles avaient du sens, ça sonne juste, il y a de l’émotion. On sent vraiment que Dylan a mis ces tripes dans sa musique. L’engagement politique dans le rock me touche et Dylan en reste l’étendard pour toute une génération. Indiscutablement, il y a écrit ces meilleurs chansons au début de sa carrière. Dans le registre folk, j’apprécie aussi Leonard Cohen..

Qu’est-ce que vous attire chez Leonard Cohen ?

Sa voix .Elle m’apaise, m’envoute. Elle ne triche pas. Dans ces chansons, il y a une part de mystère et de la vraie sentimentalité. Quand j’écoute la chanson « Sisters Of Mercy » par exemple, extrait de l’album Songs Of Leonard Cohen, j’éprouve un vrai sentiment de quiétude.

Au début des années 90, vous faites Polytechnique, en pleine période grunge et au début de la vague brit pop. Vous étiez plutôt Nirvana ? Ou Oasis ?

Ni l’un, ni l’autre. Je me souviens d’avoir écouté des titres de Nirvana dans des fêtes mais sans grande dévotion. La fin du groupe s’est terminée tragiquement et Kurt Cobain a intégré lui aussi le club des 27. Je n’ai jamais été très porté sur Oasis, j’ai toujours préféré la copie à l’original. Mais, il y a bien pire qu’Oasis. A une période de ma vie, j’ai dû m’adapter à l’ambiance musicale locale…

C’est à dire…

Quand j’ai fait mon service militaire dans la marine à 19 ans, j’étais officier de quart à bord d’un bâtiment de guerre basé à Djibouti. Je me souviens que les militaires écoutaient en boucle Danny Brillant et sa « Suzette ».

Quand vous êtes loin de chez vous, sans Janis, ni Stones, ni Beatles avec juste Danny Brillant en fond sonore, c’est dur, très dur !

Une vraie punition! Quand vous êtes loin de chez vous, sans Janis, ni Stones, ni Beatles avec juste Danny Brillant en fond sonore, c’est dur, très dur (rire)!

Revenons aux Rolling Stones. Comment se passe le déclic ?

Comme j’ai toujours fonctionné, plus en singles qu’en albums, je découvre les Stones avec « Satisfaction ». A 18 ans, la voix du destin c’était Janis Joplin et pour le texte c’était «(I Can’t Get No) Satisfaction » des Stones. On ne va pas se satisfaire de ce qu’on vous donne avec le son de guitare de Keith Richards et la voix sexy de Mick Jagger. Avant d’être une revendication, c’est une insatisfaction. L’insatisfaction est un message politique. En fait, c’est une revendication à l’égard du pouvoir.

Vous les avez vu sur scène ?

J’ai eu la chance de les voir sur scène au Stade de France, le 13 juin 2014. J’avais des places dans le carré VIP au milieu du Stade France. Dès les premiers riffs de « Jumpin’ Jack Flash », j’ai aussitôt abandonné le carré VIP pour me retrouver devant la scène.

https://www.youtube.com/watch?v=eQSGw0hMd_I

J’étais estomaqué par l’énergie de Mick Jagger avec sa chemise à jabot prune. Il était mince, sec et tenait la scène avec un sens du show incroyable. C’est un front-man hors pair, capable de créer une proximité avec chaque spectateur. A un moment, je me suis dit : « un jour, je veux faire un meeting politique qui ressemblerait en terme d’énergie à un concert de Mick Jagger ». Evidemment, il faut le faire à un stade politique de votre vie ou vous pouvez réunir 80 000 personnes, sinon vous risquez le bide (rire). Ce soir-là, tous les titres fonctionnaient à merveille, de « Paint It Black » à « Gimme Shelter » en passant « Let’s Spend The Night Together ». Jagger m’a vraiment bluffé !

Et Keith Richards ?

Bien sûr. Tous les deux sont indissociables de la griffe stonienne. Mick et Keith ont signé leurs meilleurs titres ensemble, c’est évident. Mais pour moi, les Stones c’est Mick ! Chez Keith , il y a beaucoup de tendresse Quand il déboule sur la scène du Stade de France, avec son bandeau dans les cheveux aux couleurs de la Jamaïque, on voit toute de suite qu’il est ravi d’être là. Quand il reprend son traditionnel « Happy », les gens l’applaudissent, scandent son nom. On aurait envie de discuter avec Keith, de sympathiser mais il ne dégage pas le même sentiment surnaturel qui se produit avec Jagger sur scène. Quoi qu’il en soit, c’était un concert vraiment fabuleux.

Pensez à un morceau en particulier pour animer vos meetings ?

« You Really Got Me » de The Kinks . C’est un morceau rock que j’adore, il est pêchu et vous donne envie de taper du pied dès la première rafale de riffs. Pour une entrée de début de meeting, ça le ferait. A fond !

Passons à votre panthéon musical, quels sont les albums rock que vous n’échangeriez rien pour rien au monde ?

En tête de peloton, il y a Janis Joplin et l’album Pearl, c’est sûr. Ensuite, un Beatles, donc Sgt.Peppers que j’adore dans son intégralité. Après, c’est davantage des singles comme « Sunny Afternoon » des Kinks par exemple. Il y a une grande qualité d’écriture dans les chansons de Ray Davies, comme un parfum de thé à la bergamote (sourire).

Juste à côté de Janis, il y a aussi la voix pleine de soul d’Amy Winehouse

Dans mon panthéon musical, je ne peux pas passer à côté de « Sisters Of Mercy » de Leonard Cohen, c’est un morceau que j’écoute régulièrement. Pour les jours sombres, il y a aussi « Walk On The Wild Side » de Lou Reed. Je conserve un petit faible pour le rock en fusion de Californication des Red Hot Chili Peppers qui m’évoque de bons souvenirs. Juste à côté de Janis, il y a aussi la voix pleine de soul d’Amy Winehouse. Encore une de plus qui s’est retrouvée dans le club des 27. J’ai suivi sa courte carrière, de l’album Frank à Back To Black. Tout comme comme Janis, elle aussi n’a pas eu une vie facile. A la fin de sa carrière, je crois qu’Amy a rencontré plus de tuiles qu’on n’en rencontre dans une vie entière.

Si je vous dis rock français, ça vous évoque quoi ?

Téléphone et Indochine forcément. Dans le répertoire du groupe Indochine, j’ai une préférence toute particulière pour « J’ai Demandé A La Lune ». Il y a un côté solaire dans cette chanson. Autrement, j’aimais bien les Négresses Vertes à une époque, leurs chansons sentaient la bonne humeur et le soleil. Dernièrement, j’ai découvert HK et les Saltimbanques. C’est du rock alternatif avec de très bons textes. On sent que le chanteur a mis son âme dans sa musique.

Vous n’avez pas eu votre période Noir Désir ?

Non. Je n’ai jamais accroché à leur musique.

Quelle est votre dernière découverte musicale ?

J’adore le groupe La Femme. A 6 ou 7 musiciens, ils composent des chansons rafraîchissantes , dansantes et fredonnables. Il y a dans leurs chansons une ambiance avec un petit côté yéyé sixties qui me va bien. En ce moment, j’écoute beaucoup leur chanson « Où Va Le Monde ? » par exemple. C’est une ritournelle pop parfaite qui a un pouvoir de séduction immédiat. Je suis très fan de leur deuxième album Mystère.

Si vous n’aviez pas été une femme politique, vous seriez-vous vu dans la peau d’une rock star ?

En toute objectivité, je rêverais d’ avoir la voix de Janis Joplin et la longévité de Mick Jagger (sourire).

#élection présidentielle 2017 #Janis Joplin #les républicains #Nathalie Kosciusko-Morizet #The Rolling Stones

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