The Beatles White Album (El álbum Blanco) 1968

[ram on]

Carlitos, como siempre excelente aporte.

A continuación aportaré otros datos y comentarios curiosos no mencionados en este gran resumen de Carlitos. Empezaré con back in the ussr, y seguiré con el resto, a mi ritmo que es bastante más lento que el de carlitos.

Back in the ussr
-Esta canción fue lanzada en Inglaterra póstumamente como sencillo en 1976 para promocionar el álbum que recopilaba los temas mas rockeros de los beatles (Rock and Roll). El tema alcanzó el puesto número 19 en las listas británicas.

-La canción fue lanzada en 1968 como single en Suecia, alcanzado el puesto número 3.

-Es falso que Mike Love contribuyera el estribillo de la canción, el ex beach boy solo le dio la idea a paul para escribir la letra de la sección media.
Esto dijo Mike love al respecto: “Yo estaba sentado a la mesa del desayuno y McCartney vino con su guitarra acústica y se puso a tocar Back in the ussr. Le dije que lo que debía hacer era hablar de chicas de toda Rusia, de Ucrania y Georgia. Él era muy creativo y no necesitaba ninguna ayuda mía en las letras, pero le di la idea para esa pequeña sección humorística… Creo que fue una actitud alegre y humorística de ellos hacer una broma sobre los beach boys”.

-Paul too many years from now 1994 : Back in the Ussr fue mi parodia de back in the usa de chuck berry. Es típico de los estadounidenses, que están lejos de su país, digan” extraño mis donoughts y mi Howard Johnson’s y mis lavaderos automáticos y extraño la conveniencia del Hyatt Hilton y es todo mucho mejor en mi país y la televisión tiene más canales…”. Así que pensé: Genial, haré una sátira sobre eso. Se tratará de alguien que no tiene mucho pero que aun se sentirá tan orgulloso como un estadounidense. Es una ironía. Se trata de un ruso viajero que acaba de llegar de Miami Beach: ha venido del otro lado. No ve la hora de volver a las montañas de Georgia: Georgia always on my mind ( nota explicativa: frase que coincide con el titulo de la famosa cancion de ray charles sobre el estado de Georgia,USA); hay muchas bromas en esta canción. Es una canción chistosa, pero ahora también se ha vuelto algo parecido a un himno. Fue una buena canción y me gusto mucho. Recuerdo que traté de cantarla con mi voz estilo Jerry lee Lewis, de poner mi mente en ese sentimiento en particular. Agregamos armonías al estilo Beach Boys.”

-John 1972 hit parader: La compuso Paul. Tal vez ayude un poquito, pero no lo creo”.

-John 1980 Playboy: Completamente de Paul. Yo toqué el bajo de seis cuerdas en ella.

-Se dice que cuando Ringo escucho el trabajo de batería de paul en esta canción y dear prudence opinó que la batería en ussr era increíble pero que la dera prudence podía ser mucho mejor (con el respeto de ringo, pienso que lo mejor del clímax (parte donde sube el tempo y se pone un poco mas rockera) de dear prudence es la batería de paul.

[carlitos]

ram on............ MUY BIEN, SI SEÑOR.

¿Más lento que yo? dices .... pero si me he tirado un mes para un solo disco.
Más lento que yo imposible.
Pero creo que es el disco más versátil de todos los discos Beatles... y lo merecía

(Por eso, creo, que es el favorito de muchos Beatlemaniacos).

Fíjate que ellos tienen una conciencia social, en este disco, que por ejemplo los Rolling no han tenido nunca.
... Y me da igual que esa conciencia social viniera de uno u otro (directa: John y George o menos "visible" de Paul)
Pero definitivamente les preocupa la otra gente: la del telón de acero, la gente negra y su sufrimiento, las revoluciones condenadas al fracaso, los cerdos ricos, la gente indefensa como Prudencia ...

Eran grandes y muy, muy buenos, y blanditos a veces y duros otras (dos manos derecha e izquierda)

Espero/ ESPERAMOS el resto AMIGO.

Muy bueno, Caballero

[MiguelBeat]

Este album comenzo a ser uno de mis favoritos, por no decir el favorito,
ya que presenta canciones muy variadas me hacen sentir muchas emociones.
Carlitos es un gran aporte al foro esta serie de comentarios e historias. Me imagino que
debe haber sido agotador transcribir en cada post todos tus conocimientos beatles .
Creo que no solo yo ,sino todo el foro espera leer mas post tuyos sobre los otros discos
bealtes.

[carlitos]

Hola miky_beat:

Dice un refrán español que "Sarna con gusto no pica"
Pero sí, sí le he dedicado muchas, muchas horas.

Hay otro que me están costando más, esta noche lo pondré y verás cual es ...
es que no se como empezarlo y la antología no quiero ni tocarla ...

casi, casi ya lo tengo decidido ... veremos como queda.

Quiero poner cosas poco conocidas y es lo que me complica más.

[MiguelBeat]

Estoy a punto de ver tus nuevos post sobre el please please me y estoy seguro
que seran igual de buenos que los del album blanco.

[carlitos]

gracias y disfrútalos.

Toca dormir, hasta mañana

[ram on]

Dear Prudence
-Ringo( anthology book): prudence meditaba e hibernaba. Durante las dos semanas que estuvimos allí solo la vi dos veces. Todos golpeaban en su puerta “¿estás viva? “

-John 1980: Me eligieron a mí y a George para intentar sacarla porque ella confiaría en nosotros .Estaba completamente ida. Si hubiera estado en Occidente, la habrían encerrado. La sacamos de la casa. Llevaba tres semanas en la casa y no quería salir, quería encontrar a Dios antes que nadie. Ésa era la competición en el campamento del Maharishi : quien sería el primero en alcanzar un estado cósmico (lo que no sabía era que yo ya estaba en un estado cósmico).

-Donovan : Algunas tardes nos reuníamos en uno de nuestros chalés (en Rishikesh) y tocábamos las guitarras acústicas que todos habíamos llevado. Paul Horn, el estadounidense de la flauta también estaba allí. John quería aprender el estilo de punteo que yo tocaba, y era buen alumno. Paul ya tenía una noción superficial de ese estilo de punteo. George prefería su estilo Chet Atkins. John compuso Julia y Dear Prudence basado en la técnica que le enseñe.

-Paul too many years from now 1994: Prudence Farrow sufría de paranoia, lo que en estos días se denominaría una crisis de identidad, y no quería salir de su chalé. Todos estábamos un poco preocupados por ella, así que fuimos y le golpeamos. “ Hola Prudence todos te queremos ¡Eres maravillosa! Pero nadie podía persuadirla de salir. Así que John escribió “Dear prudence wont come out to play…”. Entró y le canto la canción y creo que eso en verdad ayudó. Caminamos hasta el chalé, una pequeña delegación, y John cantó delante de la puerta, con su guitarra. Y después de esto la chica mejoró un poco. Creo que fue muy sensible de parte de John darse cuenta de que ella necesitaba mostrar que estaba bien, que alguien le dijera que estaba bien. Ya sabes, si estás acostumbrado a McCdonald’s y Howard Johnson’s, la India es un poco diferente. Pensándolo ahora, desde la perspectiva de la década de los noventa, es probable que mucha de la gente que estaba allí necesitara terapia. Todos estábamos buscando algo. Es probable que Prudence necesitara hablar de su problema, más que meditar.

-El grupo de rock femenino Siouxsie & the Banshees' tuvieron éxito con esta canción en 1983. Su versión alcanzó el puesto número tres en las listas inglesas.

-Nota: Paul no comparte la voz líder junto John como lo indicó Carlitos. John la canta; y Paul y George hacen coros.

[Dark-Horse]

¿Y qué fue de la vida de Prudence Farrow?

[carlitos]

Dear Prudence
. Todos estábamos un poco preocupados por ella, así que fuimos y le golpeamos. “ Hola Prudence todos te queremos ¡Eres maravillosa! Pero nadie podía persuadirla de salir. Así que John escribió “Dear prudence wont come out to play…”. Entró y le canto la canción y creo que eso en verdad ayudó. Caminamos hasta el chalé, una pequeña delegación, y John cantó delante de la puerta, con su guitarra.-.

[youtube][/youtube]

Nota: Paul no comparte la voz líder junto John como lo indicó Carlitos. John la canta; y Paul y George hacen coros

Ya está cambiado, con comentario de la grabación ¡Muy bien!

¿Y qué fue de la vida de Prudence Farrow?

Con traducción chapuza:

Después de la India, Prudence Farrow se dedicó a enseñar MT cerca de 37 años.
Ella también recibió una Licenciatura, Maestría y Doctorado en el sur y el sureste de Estudios Asiáticos de la Universidad de California en Berkeley y criado a tres hijos - y ahora cuatro nietos.

Prudence Farrow también trabajó en la producción de películas, con créditos incluidos The Muppets Take Manhattan de 1984 y La rosa púrpura de El Cairo de 1985, con Mia Farrow y el director Woody Allen.

También concibió y co-produjo en 1994 Widow's Peak.
En esta última película - filmada en una ciudad irlandesa de la década de 1920 - La madre de la prudencia, la actriz Maureen O'Sullivan, inicialmente tenía que desempeñar el papel de Miss O'Hare.


y para los que quiera saber todo

http://www.pophistorydig.com/?tag=beatl ... nce-farrow

¡No veas como os gunta esta canción!
La triunfadora de este disco

Fíjate que yo pensaba que iba a ir la cosa del loco y de las pistas de la muerte de Paul



017 Canta o tararea Lennon Goodnight

http://rs239.rapidshare.com/files/11322 ... n_1981.rar

[Fabricio101]

Eres un grande Carlitos, hace un tiempo que leo tus articulos sobre los albums y cada detalle que se descubre es simplemente asombroso y todo gracias a tu voluntad y deseo de compartir. Muchas gracias en verdad, deberia haber un posto con los enlaces hacia cada uno de tus articulos ya que supongo que muchos querran leerlos todos (me incluyo) pero estan mezclados por ahi con muchos otros mensajes.

Los que gratamente he leido son: revolver, sgt pepper. hard days night, the beatles, band on the run. No se si podrias hacerme el favor de decirme si es que hay mas y en ese caso pasarme los links. Saludos y gracias de nuevo, gran parte de lo que se de The Beatles lo se gracias a estas cosas que escribes.

[carlitos]

Fabricio101 Gracias a tí por los cumplidos.

tardé en contestar por motivos técnicos, también ví que daban error algunas cosas y las arreglé (o estoy arreglando)
Respecto a los Beatles estos son los Link "Beatles" ...



01 Please Please Me – 1963
http://revolution.beatlesperu.com/viewt ... highlight=

Historia - With The Beatles - 1963
http://revolution.beatlesperu.com/viewt ... highlight=

03 A HARD DAY'S NIGHT 1964
http://revolution.beatlesperu.com/viewtopic.php?t=10436

04 For Sale 1964
http://revolution.beatlesperu.com/viewt ... highlight=

05 HELP! 1965
http://revolution.beatlesperu.com/viewt ... highlight=

06 RUBBER SOUL 1965
http://revolution.beatlesperu.com/viewt ... highlight=

07 REVOLVER -1966
http://revolution.beatlesperu.com/viewt ... highlight=

08 Sergeant Pepper's Lonely Hearts Club Band 1967
http://revolution.beatlesperu.com/viewt ... highlight=

09 Magical Mystery Tour 1967
http://revolution.beatlesperu.com/viewt ... highlight=

Disco nº 12 - 13 Let it be 1970
http://revolution.beatlesperu.com/viewt ... highlight=

Disco nº 13 - 12 Abbey Road 1969
http://revolution.beatlesperu.com/viewtopic.php?t=10051

[Fabricio101]

Te pasaste Carlitos, muchisimas gracias en serio. Un abrazo a la distancia.

[carlitos]

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04 Noviembre de 1968 KPPC-FM 106.7 Pasadena California Riffs 1967-1971

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[youtube]http://www.youtube.com/watch?v=11HNoQYa ... r_embedded[/youtube]

► Mostrar Spoiler

Q: Well, I would just like to know . . . your new album will be a double pocket LP, is that right?
George Harrison: Right, four sides, 95 minutes, 31 tracks.
Q: Right. How many of them did you write this time, George?
GH: Four.
Q: Four this time? All right, good.
GH: I've been slacking.
Q: And Ringo?
GH: Ringo wrote one. A sort of country and western number.
But Ringo sings another one as well, one song John wrote called "Good Night."

Q: I see. Is this on a Sgt. Pepper-type trip you are returning to, or are you just going to be. . .
GH: No, it's not really like Pepper with that concept, you know, of a show, it's nothing really like that.
It's more just like a regular album, but it's a different thing altogether. I'll play it to you after this.
Q: Okay.
GH: You'll get the idea.
Q: I'm looking forward to hearing it. When will it be released for American. . .?
GH: First of December.
Q: First of December, I see. With the Apple people.
GH: Pardon?
Q: With your company, the Apple.
GH: Yeah. Apple, apple, apple

Q: Are you having fun with that? It's working out good?
GH: Yes, it's working fine, yeah. Quite a lot of work involved, but it's good, you know.
The thing that comes out of it is good. It's worthwhile.
Q: Are you signing more artists and everything?
GH: There's quite a few people, yeah.
We've got a singer whose album should be out in the States in a couple of weeks' time, James Taylor.
He's a guy who writes all his own material. So, a couple of groups, you know, a few singles, there's plenty of things coming out.
Q: I understand the uppermost thing in like the company, I was reading is like the sound is primary, you're really producing good sound first, you know, in production and everything. That's something that. . .
GH: It should be. Really, we shouldn't put out records - cream and sugar - we shouldn't put out records that have, you know, that we don't like.
Q: Really.
GH: That's really what it . . . all it amounts to. You know, there's plenty of good music and we'll just try and keep a high standard so that, you know, everything's nice.
It doesn't have to be a hit, I don't suppose, but as long as it's good.

Q: I saw your film about five times in colour. We had it over here a couple of months ago.
GH: Which one, the Submarine?
Q: The Magical Mystery Tour.
GH: Oh, Mystery Tour.
Q: In colour.
GH: Did you like it?
Q: Yes, very much. I was very moved. In fact, a couple of the scenes were very moving, as a matter of fact.
GH: Yeah, it's quite old now for us, it's like a year old.
Q: Well, they haven't released it, they were talking about putting it on American TV and like we got an advance film of it and showed it at one of the local places.
GH: Really, just a few critics in England screwed that up, just by giving bad reviews, they spoiled most of America from seeing it. I believe it's going out in the colleges, so it's going on tour.
Q: It would be appreciated there. It's a matter of . . . what's a very . . . it's a fast thing, it's involved. I watched it five times, everyone watched it like five more, without realising what's happening.
GH: The critics didn't really like it because it was like a home movie, a big home movie, which it was, you know. But, I mean, they didn't try and see anything else in it.
Q: There's a lot more there. I was sort of like tripping on some of the parodies in there, touches of other filmmakers too.
GH: Yeah.
Q: You know, the Grand Prix-type thing, with the . . . and then the scene, well, my favourite scene on the beach with the older couple. It was a beautiful scene.
GH: Yeah, but you know the BBC wanted to cut that out, they thought it was obscene!
Q: Oh, that's obscene?
GH: Yeah.
Q: Old people can't be in love or have. . .
GH: No, no, they're not allowed to.
Q: What is the . . . I haven't seen the. . .
GH: Next week sometime. Yeah, that's great, you know, I enjoyed that much more than I thought I would.
And there's lots of nice things in it, like the Sea of Holes, there's a lot of Bosch-type things, if you're familiar with Bosch.
Q: Just a little.
GH: Like just strange creatures where the submarine goes through all different . . . the Sea of Holes is good, it's like the relativity, the time and space thing. And they go through another place where there's a lot of very strange Bosch-type creatures dancing around, like a vacuum cleaner thing, it's very good.
Q: What about the lever-puller, Ringo?
GH: Which?
Q: When he pulls the lever, he goes, "I just love to pull levers."
GH: And he pulls the lever.
Q: Yeah.
GH: And then what happens?
Q: Something opens up on the picture. I haven't seen it, I was just told about it.
GH: Oh, I can't remember. You really need to see it a couple of times, there's a lot going on in it.
Q: Just like the Magical Mystery, I watched it like five times in a row. They ran it twelve times that day, and we just stayed down and watched it.

Q: When you were first getting started with the Maharishi, a lot went down, like we saw you know, on television different things said about how you'd become disenchanted and things like that. While you were into the Maharishi thing, I personally was into a Zen thing.
Every morning at four o'clock I'd go down and meet with this Zen master in Gardena out here.
And he kept putting down the Maharishi too, because he said the Maharishi was too non-committal and he, like, one time on television he said to avoid war, you build bigger bombs and he kind of disillusioned. . .
GH: You see, the problem is, well, it's not really a problem, only if you make it a problem, but the thing is that everything in the world is right and wrong, and yes and no, and up and down, and like good and bad. And good is only held in its position by bad, you know, you can only measure one by the other. But in actual fact, they're both the same thing. So really, the Maharishi was great, you know, and there was a lot of things that he was . . . and even down to the idea of doing Johnny Carson's show. I mean, from one side of it you can accept everything, and from another side, you can't accept anything. It really depends, and at first, you know, we wanted . . . I mean really, I still now I'd like the whole world to wake up and just to know who they are and what they're supposed to be doing. And then it would be a great place. I thought, that's why we really went along a lot with the things like with TV shows and you know, I didn't mind too much the idea of somebody like Maharishi going on TV. Even though it's so out of context, a person like that, it is so out of context. Yet, at the same time, you know. . .
Q: How do you spread the word to the people?
GH: Especially now, like where this is the jet age, so we play jet age-type music. And I think other people should, like in a way, Maharishi was the jet age yogi. And that can't be bad entirely, and it can't be good entirely. You know, this is the terrible thing, the truth is something that isn't good or bad, you know. It's beyond all that. And once you try and say what it is, then you bring yourself into that relativity of good and bad, you know, so it's really best just to find it yourself.


Q: Well, this thing about good and bad is like I know Lennon got busted just recently, kids all over the United States are getting busted for you know, they're making criminals out of marijuana smokers all of the country.
Kids are getting records and everything. You know, where is the good and where is the bad now, who do they look to?
GH: Yeah, I noticed on a police car in Los Angeles, it says, written on the door, "to serve and to protect."
And that really sort of buzzed me, I was starting to wonder like, who are they serving and who are they protecting? I mean, that's where it's really at. Because maybe they do serve and protect, but you know, themselves? Or you know, like, who?
Q: In the old days, you know, when I was a kid anyway, the policeman was something to . . . he was the man on the corner.
And you'd go up to him and you'd rap with the guy and he was there to help you. But now, and not all of them, you know, certainly, but the principals they live by and the rules that they have to enforce now are so archaic that they're made out to be and in most cases they probably are because they're so dedicated. . .
GH: But that's the trick, you see, because they say, well it's not me, it's somebody up there telling me what to do. And you can never find who, like who is the guy up at the top. Because they shift the load, you know. Take a load off, Annie.

Q: What's the overall scene in England right now, so far as people our age is concerned, I was in England in '64 and '65, in fact, I saw you at a theatre with I think Roy Orbison, that's where it was at then in '64.
GH: It's not bad, you know, like compared to America, it's really the same. It's the same all over the world.
It's that thing, you know, outside agitators.
Q: Dissonant elements. . .
GH: The thing is that we have it, but it's again, like everything is just that bit smaller than America, you know, less money, less industry, less everything. So there's less revolutionaries, -ists.
Q: You can see the changes happening in this country, though.
GH: Oh, you can see them happening there, but it's still, it's like relative in size to America, you know, so the changes are smaller, because there's less people trying to change it.
But there's less people who don't want it to change as well, which is good. Knowing in England, because it's generally smaller, you know.
The thing is, there was to have been a big demonstration, I think just last week sometime.
And it was going to be like the biggest demonstration of all time, because all the demonstrators, they're just getting together now, and they have roughly the same sort of thing as that in Chicago, you know.
They have police coming around with their horses and sticks and all that.
But they're getting more determined as they are in America.

Q: To return to a sort of a music scene, do you think, you know, music to me has always been sort of a mirror, you know, of the culture, of the society, and they have a big insurgence now of blues and everything.
And I noticed, your music has mirror a difference perspective still, you know, you haven't gone into that as John Mayall and other people.
What do you think the music in more or less in what direction will we be mirroring in the next few years?
GH: Well, this new album of ours is really generally, with the exception of soft, sweet songs, generally have got a bit heavier. Much heavier.
The thing is, I mean, we never got into like that purist thing, like John Mayall, and I mean that's one thing I don't entirely agree with.
Well, not for us, anyway. You know, I think I like so much different music, I wouldn't like to just get hung up doing one thing like the blues, and then that's it for the rest of your life, playing twelve-bar.
But this new album has got much heavier and there is a blues track on it, actually.
Q: Oh really?
GH: Called "Yer Blues." And which is quite bluesy, I don't know how the purist blues people are going to take it, but you know, it's still as valid as any other blues.
Q: Yeah, what is blues?
GH: Yeah.
Q: Really.
GH: "I'm so lonely, I want to die. So lonely I want to die. If I ain't death already, woo! You know the reason why." Something like that, really.
Q: Yeah. I noticed, you know. . .
GH: T-bone Lennon and B.B. Harrison.
Q: . . . that I heard an interview with Donovan and he was speaking of returning to you know, the old minstrel. . .
GH: To go back to the R&B like he used to do.
Q: Right, just himself and perhaps another person.
GH: Don's thing is really, I think, I never enjoyed Donovan's records as much as enjoy him just singing with a guitar. You know, he was with us in India where he wrote "Hurdy Gurdy Man" and lots of the things off his new Hurdy Gurdy album.
Q: Probably "Tangier" too.
GH: And it's so nice, you know, he does them so great.
And then he goes in the recording studio and something happens, you know, for my personal taste, I'd rather have him completely as he is with his guitar, or to go into the studio and do it really, you know, amazing.
But it always falls like half and half when he records. Great fellow though, good old Don. "We love you Donovan, oh yes we do."

Q: We could return to another . . . what are your feelings here right now in the USA, you feel the thing of they're having elections now. . .
GH: I think it's, it's funny you should say that, the elections.
I feel that, you know, from time to time I feel that there's no difference between past, present and future, it's all the same.
And particularly today, when there's three bad guys to pick from, so it's going to be the most popular of these three guys is going to suddenly be the president.
And we all know he's not the one, he's not going to do it, whoever it is isn't going to be the one. And so, we've already past that, I mean, if you put yourself now, suddenly imagine in two years time, when whoever, which one of these three is going to be out there doing it. Then you know, there's no difference, it's all like a waste of time.
It's very sad really, but when you know that the future isn't going to be a lot of change. . .
Q: Well, a lot of people are hoping that Wallace gets in so it'll come down faster. So it'll all change faster, you know.
GH: I think Paulsen, Pat Paulsen, he's my man.
Q: Really?
GH: Yes, or you should have Tommy Smothers, get him in there.
Q: Well, do you think there's a possibility, you know, in this country, or either in England of a man becoming the leader or president or whatever, whose interest is in the common man?
GH: I don't know, I can't see it, you see. Anybody who's generally interested in the country and the people. . .
Q: Gets killed.
Q: Really?
GH: Yeah, either gets killed, or doesn't make it for long enough. Whereas the other people who become presidents don't, it doesn't seem to have anything to do with the country or the people, you know.
It's completely their own scene, their ego, the thing of "I'm the prez, watch out" so as then, they can die as the famous president who did this and who did that. And you know, it's on such a crummy level that it's not worth talking about.
It's a joke, it's a joke, you know, all that . . . presidents and prime ministers, they're all the same.
Q: Heads of the protectorates of the status quo.
GH: Forgive them for they know not what they do.

Q: When I was fourteen years old, I knew I wanted to ball the Queen, but I don't know, that might have. . .
Q: I went to see the Queen, she wasn't there.
GH: The Queen, yeah. The Queen's all right though, actually. The Queen's, you know, it's not, it's different like the prez over here, the prez seems to be the heavy guy.
Whereas the Queen just like goes around waving all the time. And you know, it's really her karma, her you know, the fickle finger of fate pointed at her and she happened to, you know, she didn't split and she had to go around waving.
But she is, she's a nice lady and that makes it even worse somehow.
Q: How's Prince Charles?
GH: Well, Prince Charles, I don't know, and Prince Anne, [laughs] Prince Anne, they seem to be getting more hip. I mean, she's now got her miniskirt two inches above the ankle, so she's really coming on. Actually, they're good though.
The Royal Family are quite hip, you know. Margaret and Tony Anson Jones and Princess Alexander, you know, they all, they're the same, they have their big thing of like, "We got the new Apple records now, and have you heard this one?" You know, they're not as stodgy as it's made out. The fault lies in the houses of Parliament and Guy Fawkes was a good guy. Do you know about him?
Q: No.
GH: There was this guy called Guy Fawkes, who, I'm not sure about the dates here, but some years ago, probably a couple of hundred years ago, he sailed up the River Thames to blow up the houses of Parliament, but they caught him, and he never made it.
So every fifth of November, in England, it's a big scene where they have big fires burning in people's gardens and streets and they throw dummies of Guy on the fire. And other people drive around London with stickers on their car saying "Come back Guy Fawkes, we need you."

Q: How's everybody's health? John and Paul, how are their health?
GH: How are they? Their health? Quite good, actually, considering what we've been through.
The last summer has been very busy for us, you know, with trying to set up this Apple thing and trying to get ourselves together. Because we had to really find out everything about our own personal affairs and the group and business affairs since Brian died.
It was really hard, because there was nobody else who could do it, except us.
So, we had to do it, and at the same time we had to try and make this album.
So, just at the moment, everybody, we just finished the album, and everybody's just going away for a break, having a holiday.
So I think we've made it. And we come back refreshed to Christmas with the family.
Q: Do you have problems combining the business trip and the music trip? They are different, aren't they?
GH: Not really, no, because music is my business. So, it's quite easy.

Q: George, are you going to release a Christmas record this year?
GH: You mean one of those fan club records?
Q: Right.
GH: Yeah, yeah, we'll do that. But it's still only available to people in the "Official Beatles Fan Club."
Q: Because we've got two, '64 and '66, and we'd like to get the other ones.
GH: Well, really that's something that we were doing especially for the fans .
Q: How many fans are there over there in England?
GH: There's quite a lot, but you see, the thing is, they pay their money and they get their pictures and information and that, but the main thing they really get, by being a fan, is this Christmas record we do.
And it's pointless if we put it out so everybody can buy it, because then, you know, they don't get anything special. But we'll be doing that again, yeah, we'll do it probably first week in December.

Q: Is there any such thing as an underground, unquote, radio in England.
GH: No, there's nothing. The underground radio, or that you could compare to underground was on the sea, which were the pirate ships. And there were about three or four pirates stations and the government formed, had some new laws made you see, because I mean, you're not allowed to have radio in England, you know. They're allowed to have radio, but we're not. So, we go on now wailing on with the BBC, which is a joke, and there's no pirate stations left at all, except there's this good guy who started the first pirate ship and who has a little plan, so maybe if that works out we'll have another pirate radio and TV station. He's planning to pirate TV, colour TV, and the whole bit.
Q: That'll be out of sight.
GH: Yeah, if it works. But then, you know, they'll make another law and somebody will make some other plan and then they make another law and it just goes on and on.
Q: We've been kind of lucky so far, we've been on the air for a year, and very very few problems so far with the FCC.
GH: Who's the FCC?
Q: The Federal Communications Commission. "Them," as you say.
GH: Them. Yeah, are you in the union? Have you paid your dues?
Q: No, we're paying our dues now in a different way.
Q: I think we better just wrap it.
Q: Yeah, I think we'll just close it out now, it's really been a pleasure talking to you George.
GH: Thank you. Pleasure being here. Wonderful K-P-P-P-P-C.
Q: In Pasadena.
GH: In Pasadena, yes. "Where my home, Pasadena." Is the grass really greener in Pasadena? So, I'll say my name, to make it official. I'd like to say, this is George Harrison of the Beatles, on wonderful K-P-P-P-P-P-P-P-C, where the grass is greener in Pasadena. Thank you.
Q: Thank you very much George.

Q: Bien, me gustaría saber. . . vuestro nuevo álbum será un LP doble, ¿verdad?
George Harrison: Correcto, cuatro caras, 95 minutos y 31 canciones.
Q: Muy bien. ¿Cuántas de ellas escribiste en esta ocasión, George?
GH: Cuatro.
Q: 4 esta vez? Muy bien, estupendo.
GH: He estado haciendo el vago.
Q: ¿Y Ringo?
GH: Ringo escribió una. Una especie de numero “country y western”.
Pero Ringo canta otra, también, una canción que John escribió titulada "Good Night.".

Q: Ya veo. ¿Es este (disco) volvéis a hacer un viaje del tipo Sgt. Pepper , o simplemente lo que va a ser. . .
(Va a ser una continuidad del Pepper o es el estilo donde vais a ir a partir de …)
GH: No, en realidad no es como “el Pepper” en ese concepto, ya sabes, de un show, en realidad no es nada de eso.
Es más como un álbum normal, pero es una cosa totalmente diferente.
Lo tocaré (pondré) para ti después de esto.
Q: Ok.
GH: Conseguirás hacerte a la idea.
Q: Tengo ya ganas escucharlo. ¿Cuándo será lanzado en Estados Unidos. . .?
GH: A primeros de diciembre.

Q: A primeros de diciembre, ya veo. Con la gente de Apple.
GH: ¿Perdón?
Q: Con vuestra compañía, “La Manzana”.
GH: Sí. Apple, la manzana, la manzana
Q: ¿Te estás divirtiendo con eso? Que está funcionando bien?
GH: Sí, está funcionando muy bien, sí.
Mucho del trabajo de los involucrados, pero bueno, ya sabes.
Lo que sale de ella (Apple) es bueno. Merece la pena.
Q: ¿Estás contratando más artistas y más cosas?
GH: Hay bastante gente, sí.
Tenemos un cantante cuyo álbum debería salir en USA en un par de semanas, James Taylor.
Es un chico que escribe su propio material.
Así como, un par de grupos, ya sabes, unos cuantos singles, hay un montón de cosas que salen. ... [/font]

[Fabricio101]

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04 Noviembre de 1968 KPPC-FM 106.7 Pasadena California Riffs 1967-1971

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[youtube]http://www.youtube.com/watch?v=11HNoQYa ... r_embedded[/youtube]

► Mostrar Spoiler

Q: Well, I would just like to know . . . your new album will be a double pocket LP, is that right?
George Harrison: Right, four sides, 95 minutes, 31 tracks.
Q: Right. How many of them did you write this time, George?
GH: Four.
Q: Four this time? All right, good.
GH: I've been slacking.
Q: And Ringo?
GH: Ringo wrote one. A sort of country and western number.
But Ringo sings another one as well, one song John wrote called "Good Night."

Q: I see. Is this on a Sgt. Pepper-type trip you are returning to, or are you just going to be. . .
GH: No, it's not really like Pepper with that concept, you know, of a show, it's nothing really like that.
It's more just like a regular album, but it's a different thing altogether. I'll play it to you after this.
Q: Okay.
GH: You'll get the idea.
Q: I'm looking forward to hearing it. When will it be released for American. . .?
GH: First of December.
Q: First of December, I see. With the Apple people.
GH: Pardon?
Q: With your company, the Apple.
GH: Yeah. Apple, apple, apple

Q: Are you having fun with that? It's working out good?
GH: Yes, it's working fine, yeah. Quite a lot of work involved, but it's good, you know.
The thing that comes out of it is good. It's worthwhile.
Q: Are you signing more artists and everything?
GH: There's quite a few people, yeah.
We've got a singer whose album should be out in the States in a couple of weeks' time, James Taylor.
He's a guy who writes all his own material. So, a couple of groups, you know, a few singles, there's plenty of things coming out.
Q: I understand the uppermost thing in like the company, I was reading is like the sound is primary, you're really producing good sound first, you know, in production and everything. That's something that. . .
GH: It should be. Really, we shouldn't put out records - cream and sugar - we shouldn't put out records that have, you know, that we don't like.
Q: Really.
GH: That's really what it . . . all it amounts to. You know, there's plenty of good music and we'll just try and keep a high standard so that, you know, everything's nice.
It doesn't have to be a hit, I don't suppose, but as long as it's good.

Q: I saw your film about five times in colour. We had it over here a couple of months ago.
GH: Which one, the Submarine?
Q: The Magical Mystery Tour.
GH: Oh, Mystery Tour.
Q: In colour.
GH: Did you like it?
Q: Yes, very much. I was very moved. In fact, a couple of the scenes were very moving, as a matter of fact.
GH: Yeah, it's quite old now for us, it's like a year old.
Q: Well, they haven't released it, they were talking about putting it on American TV and like we got an advance film of it and showed it at one of the local places.
GH: Really, just a few critics in England screwed that up, just by giving bad reviews, they spoiled most of America from seeing it. I believe it's going out in the colleges, so it's going on tour.
Q: It would be appreciated there. It's a matter of . . . what's a very . . . it's a fast thing, it's involved. I watched it five times, everyone watched it like five more, without realising what's happening.
GH: The critics didn't really like it because it was like a home movie, a big home movie, which it was, you know. But, I mean, they didn't try and see anything else in it.
Q: There's a lot more there. I was sort of like tripping on some of the parodies in there, touches of other filmmakers too.
GH: Yeah.
Q: You know, the Grand Prix-type thing, with the . . . and then the scene, well, my favourite scene on the beach with the older couple. It was a beautiful scene.
GH: Yeah, but you know the BBC wanted to cut that out, they thought it was obscene!
Q: Oh, that's obscene?
GH: Yeah.
Q: Old people can't be in love or have. . .
GH: No, no, they're not allowed to.
Q: What is the . . . I haven't seen the. . .
GH: Next week sometime. Yeah, that's great, you know, I enjoyed that much more than I thought I would.
And there's lots of nice things in it, like the Sea of Holes, there's a lot of Bosch-type things, if you're familiar with Bosch.
Q: Just a little.
GH: Like just strange creatures where the submarine goes through all different . . . the Sea of Holes is good, it's like the relativity, the time and space thing. And they go through another place where there's a lot of very strange Bosch-type creatures dancing around, like a vacuum cleaner thing, it's very good.
Q: What about the lever-puller, Ringo?
GH: Which?
Q: When he pulls the lever, he goes, "I just love to pull levers."
GH: And he pulls the lever.
Q: Yeah.
GH: And then what happens?
Q: Something opens up on the picture. I haven't seen it, I was just told about it.
GH: Oh, I can't remember. You really need to see it a couple of times, there's a lot going on in it.
Q: Just like the Magical Mystery, I watched it like five times in a row. They ran it twelve times that day, and we just stayed down and watched it.

Q: When you were first getting started with the Maharishi, a lot went down, like we saw you know, on television different things said about how you'd become disenchanted and things like that. While you were into the Maharishi thing, I personally was into a Zen thing.
Every morning at four o'clock I'd go down and meet with this Zen master in Gardena out here.
And he kept putting down the Maharishi too, because he said the Maharishi was too non-committal and he, like, one time on television he said to avoid war, you build bigger bombs and he kind of disillusioned. . .
GH: You see, the problem is, well, it's not really a problem, only if you make it a problem, but the thing is that everything in the world is right and wrong, and yes and no, and up and down, and like good and bad. And good is only held in its position by bad, you know, you can only measure one by the other. But in actual fact, they're both the same thing. So really, the Maharishi was great, you know, and there was a lot of things that he was . . . and even down to the idea of doing Johnny Carson's show. I mean, from one side of it you can accept everything, and from another side, you can't accept anything. It really depends, and at first, you know, we wanted . . . I mean really, I still now I'd like the whole world to wake up and just to know who they are and what they're supposed to be doing. And then it would be a great place. I thought, that's why we really went along a lot with the things like with TV shows and you know, I didn't mind too much the idea of somebody like Maharishi going on TV. Even though it's so out of context, a person like that, it is so out of context. Yet, at the same time, you know. . .
Q: How do you spread the word to the people?
GH: Especially now, like where this is the jet age, so we play jet age-type music. And I think other people should, like in a way, Maharishi was the jet age yogi. And that can't be bad entirely, and it can't be good entirely. You know, this is the terrible thing, the truth is something that isn't good or bad, you know. It's beyond all that. And once you try and say what it is, then you bring yourself into that relativity of good and bad, you know, so it's really best just to find it yourself.


Q: Well, this thing about good and bad is like I know Lennon got busted just recently, kids all over the United States are getting busted for you know, they're making criminals out of marijuana smokers all of the country.
Kids are getting records and everything. You know, where is the good and where is the bad now, who do they look to?
GH: Yeah, I noticed on a police car in Los Angeles, it says, written on the door, "to serve and to protect."
And that really sort of buzzed me, I was starting to wonder like, who are they serving and who are they protecting? I mean, that's where it's really at. Because maybe they do serve and protect, but you know, themselves? Or you know, like, who?
Q: In the old days, you know, when I was a kid anyway, the policeman was something to . . . he was the man on the corner.
And you'd go up to him and you'd rap with the guy and he was there to help you. But now, and not all of them, you know, certainly, but the principals they live by and the rules that they have to enforce now are so archaic that they're made out to be and in most cases they probably are because they're so dedicated. . .
GH: But that's the trick, you see, because they say, well it's not me, it's somebody up there telling me what to do. And you can never find who, like who is the guy up at the top. Because they shift the load, you know. Take a load off, Annie.

Q: What's the overall scene in England right now, so far as people our age is concerned, I was in England in '64 and '65, in fact, I saw you at a theatre with I think Roy Orbison, that's where it was at then in '64.
GH: It's not bad, you know, like compared to America, it's really the same. It's the same all over the world.
It's that thing, you know, outside agitators.
Q: Dissonant elements. . .
GH: The thing is that we have it, but it's again, like everything is just that bit smaller than America, you know, less money, less industry, less everything. So there's less revolutionaries, -ists.
Q: You can see the changes happening in this country, though.
GH: Oh, you can see them happening there, but it's still, it's like relative in size to America, you know, so the changes are smaller, because there's less people trying to change it.
But there's less people who don't want it to change as well, which is good. Knowing in England, because it's generally smaller, you know.
The thing is, there was to have been a big demonstration, I think just last week sometime.
And it was going to be like the biggest demonstration of all time, because all the demonstrators, they're just getting together now, and they have roughly the same sort of thing as that in Chicago, you know.
They have police coming around with their horses and sticks and all that.
But they're getting more determined as they are in America.

Q: To return to a sort of a music scene, do you think, you know, music to me has always been sort of a mirror, you know, of the culture, of the society, and they have a big insurgence now of blues and everything.
And I noticed, your music has mirror a difference perspective still, you know, you haven't gone into that as John Mayall and other people.
What do you think the music in more or less in what direction will we be mirroring in the next few years?
GH: Well, this new album of ours is really generally, with the exception of soft, sweet songs, generally have got a bit heavier. Much heavier.
The thing is, I mean, we never got into like that purist thing, like John Mayall, and I mean that's one thing I don't entirely agree with.
Well, not for us, anyway. You know, I think I like so much different music, I wouldn't like to just get hung up doing one thing like the blues, and then that's it for the rest of your life, playing twelve-bar.
But this new album has got much heavier and there is a blues track on it, actually.
Q: Oh really?
GH: Called "Yer Blues." And which is quite bluesy, I don't know how the purist blues people are going to take it, but you know, it's still as valid as any other blues.
Q: Yeah, what is blues?
GH: Yeah.
Q: Really.
GH: "I'm so lonely, I want to die. So lonely I want to die. If I ain't death already, woo! You know the reason why." Something like that, really.
Q: Yeah. I noticed, you know. . .
GH: T-bone Lennon and B.B. Harrison.
Q: . . . that I heard an interview with Donovan and he was speaking of returning to you know, the old minstrel. . .
GH: To go back to the R&B like he used to do.
Q: Right, just himself and perhaps another person.
GH: Don's thing is really, I think, I never enjoyed Donovan's records as much as enjoy him just singing with a guitar. You know, he was with us in India where he wrote "Hurdy Gurdy Man" and lots of the things off his new Hurdy Gurdy album.
Q: Probably "Tangier" too.
GH: And it's so nice, you know, he does them so great.
And then he goes in the recording studio and something happens, you know, for my personal taste, I'd rather have him completely as he is with his guitar, or to go into the studio and do it really, you know, amazing.
But it always falls like half and half when he records. Great fellow though, good old Don. "We love you Donovan, oh yes we do."

Q: We could return to another . . . what are your feelings here right now in the USA, you feel the thing of they're having elections now. . .
GH: I think it's, it's funny you should say that, the elections.
I feel that, you know, from time to time I feel that there's no difference between past, present and future, it's all the same.
And particularly today, when there's three bad guys to pick from, so it's going to be the most popular of these three guys is going to suddenly be the president.
And we all know he's not the one, he's not going to do it, whoever it is isn't going to be the one. And so, we've already past that, I mean, if you put yourself now, suddenly imagine in two years time, when whoever, which one of these three is going to be out there doing it. Then you know, there's no difference, it's all like a waste of time.
It's very sad really, but when you know that the future isn't going to be a lot of change. . .
Q: Well, a lot of people are hoping that Wallace gets in so it'll come down faster. So it'll all change faster, you know.
GH: I think Paulsen, Pat Paulsen, he's my man.
Q: Really?
GH: Yes, or you should have Tommy Smothers, get him in there.
Q: Well, do you think there's a possibility, you know, in this country, or either in England of a man becoming the leader or president or whatever, whose interest is in the common man?
GH: I don't know, I can't see it, you see. Anybody who's generally interested in the country and the people. . .
Q: Gets killed.
Q: Really?
GH: Yeah, either gets killed, or doesn't make it for long enough. Whereas the other people who become presidents don't, it doesn't seem to have anything to do with the country or the people, you know.
It's completely their own scene, their ego, the thing of "I'm the prez, watch out" so as then, they can die as the famous president who did this and who did that. And you know, it's on such a crummy level that it's not worth talking about.
It's a joke, it's a joke, you know, all that . . . presidents and prime ministers, they're all the same.
Q: Heads of the protectorates of the status quo.
GH: Forgive them for they know not what they do.

Q: When I was fourteen years old, I knew I wanted to ball the Queen, but I don't know, that might have. . .
Q: I went to see the Queen, she wasn't there.
GH: The Queen, yeah. The Queen's all right though, actually. The Queen's, you know, it's not, it's different like the prez over here, the prez seems to be the heavy guy.
Whereas the Queen just like goes around waving all the time. And you know, it's really her karma, her you know, the fickle finger of fate pointed at her and she happened to, you know, she didn't split and she had to go around waving.
But she is, she's a nice lady and that makes it even worse somehow.
Q: How's Prince Charles?
GH: Well, Prince Charles, I don't know, and Prince Anne, [laughs] Prince Anne, they seem to be getting more hip. I mean, she's now got her miniskirt two inches above the ankle, so she's really coming on. Actually, they're good though.
The Royal Family are quite hip, you know. Margaret and Tony Anson Jones and Princess Alexander, you know, they all, they're the same, they have their big thing of like, "We got the new Apple records now, and have you heard this one?" You know, they're not as stodgy as it's made out. The fault lies in the houses of Parliament and Guy Fawkes was a good guy. Do you know about him?
Q: No.
GH: There was this guy called Guy Fawkes, who, I'm not sure about the dates here, but some years ago, probably a couple of hundred years ago, he sailed up the River Thames to blow up the houses of Parliament, but they caught him, and he never made it.
So every fifth of November, in England, it's a big scene where they have big fires burning in people's gardens and streets and they throw dummies of Guy on the fire. And other people drive around London with stickers on their car saying "Come back Guy Fawkes, we need you."

Q: How's everybody's health? John and Paul, how are their health?
GH: How are they? Their health? Quite good, actually, considering what we've been through.
The last summer has been very busy for us, you know, with trying to set up this Apple thing and trying to get ourselves together. Because we had to really find out everything about our own personal affairs and the group and business affairs since Brian died.
It was really hard, because there was nobody else who could do it, except us.
So, we had to do it, and at the same time we had to try and make this album.
So, just at the moment, everybody, we just finished the album, and everybody's just going away for a break, having a holiday.
So I think we've made it. And we come back refreshed to Christmas with the family.
Q: Do you have problems combining the business trip and the music trip? They are different, aren't they?
GH: Not really, no, because music is my business. So, it's quite easy.

Q: George, are you going to release a Christmas record this year?
GH: You mean one of those fan club records?
Q: Right.
GH: Yeah, yeah, we'll do that. But it's still only available to people in the "Official Beatles Fan Club."
Q: Because we've got two, '64 and '66, and we'd like to get the other ones.
GH: Well, really that's something that we were doing especially for the fans .
Q: How many fans are there over there in England?
GH: There's quite a lot, but you see, the thing is, they pay their money and they get their pictures and information and that, but the main thing they really get, by being a fan, is this Christmas record we do.
And it's pointless if we put it out so everybody can buy it, because then, you know, they don't get anything special. But we'll be doing that again, yeah, we'll do it probably first week in December.

Q: Is there any such thing as an underground, unquote, radio in England.
GH: No, there's nothing. The underground radio, or that you could compare to underground was on the sea, which were the pirate ships. And there were about three or four pirates stations and the government formed, had some new laws made you see, because I mean, you're not allowed to have radio in England, you know. They're allowed to have radio, but we're not. So, we go on now wailing on with the BBC, which is a joke, and there's no pirate stations left at all, except there's this good guy who started the first pirate ship and who has a little plan, so maybe if that works out we'll have another pirate radio and TV station. He's planning to pirate TV, colour TV, and the whole bit.
Q: That'll be out of sight.
GH: Yeah, if it works. But then, you know, they'll make another law and somebody will make some other plan and then they make another law and it just goes on and on.
Q: We've been kind of lucky so far, we've been on the air for a year, and very very few problems so far with the FCC.
GH: Who's the FCC?
Q: The Federal Communications Commission. "Them," as you say.
GH: Them. Yeah, are you in the union? Have you paid your dues?
Q: No, we're paying our dues now in a different way.
Q: I think we better just wrap it.
Q: Yeah, I think we'll just close it out now, it's really been a pleasure talking to you George.
GH: Thank you. Pleasure being here. Wonderful K-P-P-P-P-C.
Q: In Pasadena.
GH: In Pasadena, yes. "Where my home, Pasadena." Is the grass really greener in Pasadena? So, I'll say my name, to make it official. I'd like to say, this is George Harrison of the Beatles, on wonderful K-P-P-P-P-P-P-P-C, where the grass is greener in Pasadena. Thank you.
Q: Thank you very much George.

Q: Bien, me gustaría saber. . . vuestro nuevo álbum será un LP doble, ¿verdad?
George Harrison: Correcto, cuatro caras, 95 minutos y 31 canciones.
Q: Muy bien. ¿Cuántas de ellas escribiste en esta ocasión, George?
GH: Cuatro.
Q: 4 esta vez? Muy bien, estupendo.
GH: He estado haciendo el vago.
Q: ¿Y Ringo?
GH: Ringo escribió una. Una especie de numero “country y western”.
Pero Ringo canta otra, también, una canción que John escribió titulada "Good Night.".

Q: Ya veo. ¿Es este (disco) volvéis a hacer un viaje del tipo Sgt. Pepper , o simplemente lo que va a ser. . .
(Va a ser una continuidad del Pepper o es el estilo donde vais a ir a partir de …)
GH: No, en realidad no es como “el Pepper” en ese concepto, ya sabes, de un show, en realidad no es nada de eso.
Es más como un álbum normal, pero es una cosa totalmente diferente.
Lo tocaré (pondré) para ti después de esto.
Q: Ok.
GH: Conseguirás hacerte a la idea.
Q: Tengo ya ganas escucharlo. ¿Cuándo será lanzado en Estados Unidos. . .?
GH: A primeros de diciembre.

Q: A primeros de diciembre, ya veo. Con la gente de Apple.
GH: ¿Perdón?
Q: Con vuestra compañía, “La Manzana”.
GH: Sí. Apple, la manzana, la manzana
Q: ¿Te estás divirtiendo con eso? Que está funcionando bien?
GH: Sí, está funcionando muy bien, sí.
Mucho del trabajo de los involucrados, pero bueno, ya sabes.
Lo que sale de ella (Apple) es bueno. Merece la pena.
Q: ¿Estás contratando más artistas y más cosas?
GH: Hay bastante gente, sí.
Tenemos un cantante cuyo álbum debería salir en USA en un par de semanas, James Taylor.
Es un chico que escribe su propio material.
Así como, un par de grupos, ya sabes, unos cuantos singles, hay un montón de cosas que salen. ... [/font]

Buena entrevista!..

Me vino la intriga de como habra sido ese album navideño del 68.

[carlitos]

Q: George, are you going to release a Christmas record this year?
GH: You mean one of those fan club records?
Q: Right.
GH: Yeah, yeah, we'll do that. But it's still only available to people in the "Official Beatles Fan Club."
Q: Because we've got two, '64 and '66, and we'd like to get the other ones.
GH: Well, really that's something that we were doing especially for the fans .
Q: How many fans are there over there in England?
GH: There's quite a lot, but you see, the thing is, they pay their money and they get their pictures and information and that, but the main thing they really get, by being a fan, is this Christmas record we do.
And it's pointless if we put it out so everybody can buy it, because then, you know, they don't get anything special. But we'll be doing that again, yeah, we'll do it probably first week in December.

Lo bueno de la entrevista, es el corte que le pega al locutor, que le dice que tienen dos y que quieren conseguir el resto,
George le dice es solo para las chicas del Club de Fans y te vas a quedar con las ganas Campeón:
K-P-P-P-P-P-P-P-

[youtube]http://www.youtube.com/watch?v=kalmkVyQ ... re=related[/youtube]

http://www.norwegianwood.org/beatles/di ... xmas2.html
http://www.beatlesperu.com/especial/esp ... ecial3.htm
http://beatlefans.com/xmas.htm

[jooan]

Carlitos, tengo que decir que es un placer leer tus ilustradísimos posts . ¿Sabes si hay alguna cancion inédita más en los Christmas records aparte de "Christmas Time is Here Again"?

[carlitos]

jooan: Muchas gracias, me da la sensación que canción como tal, no existe otra.
Pero bueno aquí te dejo todos los datos (de wikipedia)

http://yokono.co.uk/collection/beatles/ ... flexi.html

Aquí tienes el audio pinchando en en disco (Abajo tienes lo que dejaron fuera:

http://www.beatlesource.com/bs/mains/au ... /xmas.html


De wikipedia, repito


1963: The Beatles' Christmas Record

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Fecha de grabación: 17 de octubre de 1963, EMI Studios, Londres
Enviado a los miembros del Club de Fans británico el 6 de diciembre de 1963 (Lyntone LYN 492),
y a los miembros del Club estadounidense el 18 de diciembre de 1964
Duración total: 5:03

La idea de los discos navideños del Club de Fans de los Beatles provino del agente de prensa de la banda, Tony Barrow, como un medio de sortear la imposibilidad de poder contestar a la enorme cantidad de correo que los fans les mandaba a los Beatles.
Barrow se había inspirado en los mensajes navideños que la propia Reina de Inglaterra, Isabel II, daba públicamente por Navidad a sus súbditos.
Después de grabar «I Want to Hold Your Hand» (la canción que habría de incrementar exponencialmente el número de seguidores del grupo) y «This Boy», los cuatro músicos se dispusieron a grabar el mensaje navideño siguiendo un guion escrito por el propio Barrow.
Éste y los próximos cuatro discos, hasta 1967, incluían también un boletín informativo del Club Oficial de Fans de los Beatles.

Contenido del disco: todos cantando «Good King Wenceslas»; introducción y agradecimientos:
John (hablando sobre «Love Me Do» y el Royal Variety Show);
Paul (hablando sobre gominolas y de lo que más les gusta hacer a los Beatles); «Good King Wenceslas» cantado en un fingido idioma alemán;
Ringo (contando brevemente su historia con los Beatles y cantando «Good King Wenceslas» en la versión de salón);
George (mencionando a las secretarias del Club de Fans y cantando «Good King Wenceslas»);
todos cantando al final «Rudolph The Red-Nosed Reindeer»

---

1964: Another Beatles Christmas Record
Fecha de grabación: 26 de octubre de 1964, EMI Studios, Londres
Enviado a los miembros del Club de Fans británico el 18 de diciembre de 1964 (Lyntone LYN 757)
Duración total: 4:01

Después de grabar la versión del tema «Honey Don't» de Carl Perkins para su álbum Beatles for Sale,
la banda se reunió de nuevo para leer un mensaje navideño siguiendo un guion escrito por Tony Barrow.
Este disco fue el único que se podía escuchar a la velocidad de 45 r.p.m., al contrario que los demás, que lo hacían a 33 ⅓ r.p.m.

Another Beatles Christmas Record no fue enviado a los fans estadounidenses.
Por el contrario, en la Navidad de 1964, los seguidores estadounidenses recibieron una versión editada de
The Beatles' Christmas Record, que ya se había enviado a los miembros del Club de Fans británico el año anterior.
Además, en lugar de utilizar un disco flexible, a los fans americanos se les envió el mensaje en una triple cartulina de cartón,
donde, en una de sus solapas, se encontraba «incrustada» la grabación navideña.1

Contenido del disco: introducción al piano de «Jingle Bells»;
Paul agradeciendo a los fans la compra de sus discos; John agradeciendo a los fans la compra de su libro In His Own Write; George agradeciendo a los fans la visión de la película A Hard Day's Night ; Ringo agradeciendo a los fans por ser fans suyos; todos cantando «Oh, Can You Wash Your Father's Shirt?»

1965: The Beatles' Third Christmas Record

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Fecha de grabación: 8 de noviembre de 1965, EMI Studios, Londres
Enviado a los miembros del Club de Fans británico el 17 de diciembre de 1965 (Lyntone LYN 948)
Duración total: 6:20

Después de grabar «Think for Yourself» para el álbum Rubber Soul, los Beatles volvieron a registrar un mensaje de Navidad siguiendo las directrices de un guion escrito por Tony Barrow.
Incluía versiones burlescas, como el tema de «Eve of Destruction», de Barry McGuire, una breve referencia al «It's the Same Old Song» de los Four Tops,
y la canción propia de «Yesterday».

Los miembros del Club de Fans de Estados Unidos no llegaron a recibir este (o cualquier otro) disco de Navidad en 1965.
Por el contrario, se les mandó una tarjeta postal en blanco y negro con una foto de los «Fabulosos Cuatro» y el mensaje de saludo
«Season's Greetings - Paul, Ringo, George, John».
El boletín del Club de Fans americano informaría posteriormente a sus miembros en su edición de abril de 1966
que el máster de la grabación no había llegado a tiempo para ser editado para la Navidad de 1965.

Contenido del disco: intro: «Yesterday», cantado en un tono intencionadamente desafinado;
agradecimiento de los cuatro Beatles por las cartas y los regalos recibidos;
«Happy Christmas to Ya List'nas»/«Down in the Jungle»/«Auld Lang Syne»; «It's the Same Old Song» (brevemente cantado por Lennon antes de que fuera avisado por sus compañeros de su posible violación de derechos de autor al ser grabado el tema en disco);
los Beatles haciendo una farsa de retransmisión radiofónica: «Auld Lang Syne», cantada por los Beatles al estilo de Barry McGuire en su tema «Eve of Destruction»;
«Christmas Comes But Once A Year», cantada por Lennon, después por todos;
repitición de «Yesterday»; «Christmas Day», canturreado por McCartney al mismo tiempo que Lennon recitaba un mensaje.

1966: The Beatles' Fourth Christmas Record – Pantomime: Everywhere It's Christmas

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Fecha de grabación: 25 de noviembre de 1966, en las oficinas de Dick James Music, Londres
Enviado a los miembros del Club de Fans británico el 16 de diciembre de 1966 (Lyntone LYN 1145)
Duración total: 6:36

McCartney convenció al resto de los Beatles (estando éstos en plena cumbre de su creatividad) para que produjeran esta vez una verdadera y auténtica grabación que estuviera basada en las parodias de la comedia radiofónica The Goon Show —con la que los músicos crecieron en los años cincuenta— y que estaría completada con piezas de music-hall.
El resultado fue Pantomime: Everywhere It's Christmas, con una portada diseñada por el propio McCartney.
Éste fue el único disco del Club de Fans de los Beatles en cuya contraportada constaba la lista de los temas que contenía.
Por primera vez, aparecía un invitado en la grabación navideña de los Beatles, en este caso el road manager Mal Evans,
quien solo saludó brevemente hacia el mensaje final del disco.

Una vez más, los miembros del Club de Fans de Estados Unidos no obtuvieron su mensaje de Navidad en flexi-disc.
En su lugar, recibieron una tarjeta postal en la que se incluía la grabación del mensaje por un lado,
y una versión corta del boletín informativo del Club de Fans (con espacio suficiente para los datos del destinatario y su franqueo) por el otro

Contenido del disco: canción: «Everywhere It's Christmas»; «Orowayna» (Corsican Choir and Small Choir);
A Rare Cheese (Two Elderly Scotsmen); The Feast; The Loyal Toast; Podgy the Bear and Jasper; Felpin Mansions: Part One (Count Balder and Butler);
Felpin Mansions: Part Two (The Count and the Pianist);
canción: «Please Don't Bring Your Banjo Back»; Mal: «Everywhere It's Christmas»;
repetición, cantada por todos: «Everywhere It's Christmas».

http://www.youtube.com/watch?v=b1zvoVi3 ... re=related


1967: The Beatles Fifth Christmas Record - Christmas Time (Is Here Again)

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Artículo principal: Christmas Time (Is Here Again)
Fecha de grabación: 28 de noviembre de 1967, EMI Studios, Londres
Enviado a los miembros del Club de Fans británico el 15 de diciembre de 1967 (Lyntone LYN 1360)
Duración total: 6:10

La banda compuso e interpretó, para el nuevo mensaje destinado a sus fans, una canción navideña propia titulada «Christmas Time (Is Here Again)» (oída en el disco en fragmentos), a la que rodearon de varias parodias al estilo del programa radiofónico de los años 50 The Goon Show.
Victor Spinetti, actor y amigo de la banda, estuvo como invitado en la grabación dando las gracias a los fans de parte de los Beatles. La canción del título se editaría posteriormente de forma conjunta con el poema «When Christmas Time is Over» —recitado por Lennon—
para ser publicado en 1995 como cara B del sencillo «Free as a Bird», tema grabado a partir de una maqueta de Lennon por los restantes Beatles en 1994.
El collage de la portada del disco navideño fue creado por John Lennon y Ringo Starr, mientras que la contraportada había sido adornada con uno de los dibujos de Julian Lennon.

Los fans británicos recibieron el flexi-disc en una funda elaborada, mientras que los estadounidenses solo recibirían una postal similar a la de 1966.

Siendo una producción muy elaborada, la grabación de Christmas Time (Is Here Again) se había desarrollado sobre el concepto de seguir a varios grupos de personas haciendo una audición para un programa de radio de la BBC.
La canción del título servía como estribillo a lo largo de todo el disco. Los Beatles representaron a multitud de caracteres, incluyendo a concursantes de programas de juego, a músicos aspirantes («Plenty of Jam Jars», de unos ficticios Revellers),
y a actores en un drama radiofónico («Theatre Hour»). Al final, John leía un poema, «When Christmas Time is Over».

Contenido del disco: «Christmas Time (Is Here Again)»; llegando a la BBC;
«Christmas Time (Is Here Again)»; audición: baile de claqué; publicidad comercial; entrevista con Sir Gerald; «Christmas Time (Is Here Again)» (con risas); «On to the next round» (a la siguiente ronda); canción dedicada: «Plenty of Jam Jars», del grupo ficticio The Revellers; concurso; publicidad comercial; «Theatre Hour»; «Christmas Time (Is Here Again)»; concurso (2); Victor Spinetti dando las gracias en nombre de los Beatles; poema de Lennon: «When Christmas Time is Over»

1968: The Beatles Sixth Christmas Record - Happy Christmas

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[/color]
Fecha de grabación: Noviembre de 1968, en varias localidades
Enviado a los miembros del Club de Fans británico (Lyntone LYN 1743/4)
y a los miembros del Club estadounidense el 20 de diciembre de 1968
Duración total: 7:55

Con los Beatles apenas hablándose en este tiempo, se le dio permiso al amigo común del grupo y presentador de la BBC Kenny Everett
a que hiciera la mezcla conjunta de las cintas que los integrantes de la banda habían grabado previamente para que fueran editadas en disco para la Navidad .
Las grabaciones se hicieron mayormente en casa de cada uno de los músicos, excepto la de Ringo,
que se hacía constar en la contraportada del disco que su mensaje se había grabado en la parte trasera de una furgoneta.
Everett añadió para esta edición del disco varios fragmentos de música del recién publicado «Álbum Blanco» de los Beatles.
El invitado para esta ocasión fue el cantante y músico americano Tiny Tim, que interpretó el tema «Nowhere Man» al final del disco navideño.

Los fans estadounidenses recibieron finalmente el mensaje en un flexi-disc para la Navidad de 1968,
pero en una versión modificada de la funda británica de 1967.4

Contenido del disco:
saludo navideño de Ringo; breve introducción de «Ob-La-Di, Ob-La-Da»;
Paul cantando «Happy Christmas, Happy New Year»; «Helter Skelter» (reproducción rápida);
poema de John: «Jock and Yono»; «Baroque Hoedown», de Perrey y Kingsley;
saludo navideño de George;
saludo navideño de Mal Evans;
sketch de John y Ringo;
Paul cantando «Happy Christmas, Happy New Year»;
poema de John: «Once Upon a Pool Table»;
George presentando a Tiny Tim; Tiny Tim interpretando «Nowhere Man».

1969: The Beatles Seventh Christmas Record - Happy Christmas 1969

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Fecha de grabación: A finales de 1969, en varias localidades
Enviado a los miembros del Club de Fans británico (Lyntone LYN 1970/1)
y a los miembros del Club estadounidense el 19 de diciembre de 1969
Duración total: 7:42

Ensamblado otra vez por Everett, este disco sería realmente el canto del cisne de los Beatles:
Harrison apenas aparecía en él;
Ringo se mostró, sobre todo, interesado en promocionar su nueva película The Magic Christian;
Paul tocando la guitarra acústica en su casa,
y John viéndose envuelto con Yoko.
El diseño de la portada corrió a cargo de Ringo, mientras que la contraportada había sido dibujada por Zak Starkey.

Por una vez, el lanzamiento estadounidense y británico era idéntico.
La versión americana incluía igualmente en la etiqueta del disco un elaborado dibujo con las caras de los integrantes del grupo

Contenido del disco: John y Yoko en su casa; saludo navideño de John;
saludo navideño de George;
Ringo canta «Good Evening to You Gentlemen»; fragmento de «The End»;
John y Yoko en su casa;
Paul canta «This is to Wish You a Merry Christmas»/saludo navideño y de Año Nuevo de Paul; música incidental;
John y Yoko conversando sobre los años 70 y la paz; John y Yoko cantando «Happy Christmas» (parte 1 y 2);
Ringo haciendo que su saludo «Merry Christmas» se transforme en «Magic Christian»;
John y Yoko conversando sobre sus regalos de navidad; música incidental: «The First Noel».

Recopilación de los mensajes navideños

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El 18 de diciembre de 1970, y ya con la ruptura de los Beatles siendo de dominio público, se les ofreció a los miembros
de los Clubes de Fans británico y estadounidense la oportunidad de adquirir (por 2 dólares y 50 centavos en el caso estadounidense)
todos los siete mensajes navideños reunidos en soporte de disco de vinilo.

Para confeccionar el máster del recopilatorio navideño, todos los temas se tomaron directamente de los flexis originales, en vez de las cintas usadas para la edición de estos discos.
En Gran Bretaña se le dio a este recopilatorio el título de From Then to You, mientras que en Estados Unidos el LP salió con el título de The Beatles' Christmas Album.
El contenido sonoro era en ambos discos el mismo, pero las portadas eran distintas.
El álbum británico reproducía la portada del primer flexi disc que los Beatles habían mandado a sus fans en 1963.
En cambio, la portada del recopilatorio estadounidense mostraba, a través de cinco fotos individuales de cada miembro del grupo (y cuatro instantáneas mostrándolos en grupo), el cambio físico que habían experimentado los cuatro músicos a través de los últimos seis años en que compartieron su carrera musical juntos.

The Beatles' Christmas Album

The Beatles' Christmas Album les llegarían a los miembros del Club de Fans en los Estados Unidos probablemente en la primavera de 1971.
A pesar de que hacía recordar a los miembros del Club de que los Beatles ya no estaban juntos, tenía la ventaja de que la calidad del sonido en el disco de vinilo era mucho mejor que en los viejos discos flexibles y las tarjetas de sonido que los miembros del Club habían recibido con anterioridad;
fue también la primera vez que los mensajes de 1964 y 1965 estuvieran disponibles en Estados Unidos.
No mucho después de haberse publicado The Beatles' Christmas Album, empezaron a aparecer numerosas falsificaciones y bootlegs del álbum en el mercado.

Uso de las grabaciones, y versiones

Muy poco de lo que los Beatles habían grabado para sus mensajes navideños se llegó a editar públicamente.
En 1995, el tema «Christmas Time (Is Here Again)» —editado conjuntamente con el poema de Lennon «When Christmas Time is Over»,
aparecido en la misma grabación navideña de 1967— aparecería incluido en el nuevo sencillo «Free as a Bird»
que los Beatles sobrevivientes habían grabado a partir de una maqueta de Lennon en 1994.

Los diálogos finales de los mensajes navideños de 1965 y 1966 fueron empleados en la remezcla de la parte final del tema «All You Need is Love» aparecido en el álbum de 2006 Love.
En él se podía escuchar claramente las frases del flexi de 1965 «Okay, put the red lights off!», de Harrison,
y «And this is Johnny Leyton just saying: Good night to yous all and God bless yous.», de Lennon,
y también la del flexi de 1966 «Jolly good, jolly good», de McCartney.

Una versión editada y abreviada del flexi de 1963 había aparecido como contenido extra desbloqueable en el videojuego de 2009 The Beatles: Rock Band.

Ringo Starr grabaría su propia versión de «Christmas Time is Here Again» en su álbum navideño de 1999 I Wanna Be Santa Claus.[/font]

[jooan]

carlitos, ¡qué currada! muchas gracias, no sabía que Ringo grabo Christmas Time is Here Again. Por cierto, me encantan tus post y tu blog. ¡Los dos!

[carlitos]

Hola jooan:
Gracias por tus palabras ...
como ya dije aquí, el blog es un poco caótico todavía
Y estoy preparando una Antología Beatle (1956 - 2011) que me está llevando mucho tiempo.
(es otro blog que todavía no está activo, ya que la información es una tormenta de ideas, que estoy tratando de dar forma)

Más información aquí:
http://revolution.beatlesperu.com/viewtopic.php?t=4803


Un abrazo y GRACIAS otra vez

.

[youtube]http://www.youtube.com/watch?v=IrrKzK5m ... re=related[/youtube]

- "What key is it in?"
- "d"
- "i could have played the piano if it been c!"
- "ha ha ha"

Christmas time is here again,
Christmas time is here again,
Christmas time is here again,
Christmas time is here again,
It's been 'round since you know when.
Christmas time is here again,
Christmas time is here again,
Christmas time is here again,
Christmas time is here again,
Christmas time is here again,
It's been 'round since you know when.
Christmas time is here again.

Christmas time is here again, come on, ev'rybody!
Christmas time is here again, I wanna hear it loud and clear!
Christmas time is here again, do it for me one time!
Christmas time is here again, do it for mark!
Christmas time is here again, do it for Jesus, Jesus loves you!
It's been 'round since you know when.
Christmas time is here again.

Christmas time is here again,
O-u-t spells out!

Christmas time is - "merry christmas to you all" - here again,
Christmas time is - "peace and love ev'rybody" - here again,
Christmas time is - "you know it makes sense" - here again,
Christmas time is - "peace on earth" - here again.
It's been 'round since you know when.
Christmas time is, christmas time is here again.
O-u-t spells out!

Christmas time is here again,
C-h-r-i-s-t-m-a-s spells christmas.

Merry christmas, merry christmas.

[Leonardo Pizzarello]

Estimado Carlitos, muy buenos (como siempre) tus aportes sobre el BEATLES CHRISTMAS ALBUM y el disco "Christmas Time Is Here Again!".

Una sugerencia, amigo: considero que las grabaciones navideñas de Los Beatles merecen un tópico propio y no estar incluidas dentro de los comentarios sobre el Álbum Blanco; para que así más foristas puedan detectar el tema fácilmente y leer y comentar sobre ello.

Saludos.