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A little help from my friends
What would you think if I sang out of tune,
Would you stand up and walk out on me.
Lend me your ears and I'll sing you a song,
And I'll try not to sing out of key.
I get by with a little help from my friends,
I get high with a little help from my friends,
Going to try with a little help from my friends.
What do I do when my love is away.
(Does it worry you to be alone)
How do I feel by the end of the day
(Are you sad because you're on your own)
No I get by with a little help from my friends,
Do you need anybody,
I need somebody to love.
Could it be anybody
I want somebody to love.
Would you believe in a love at first sight,
Yes I'm certain that it happens all the time.
What do you see when you turn out the light,
I can't tell you, but I know it's mine.
Oh I get by with a little help from my friends,
Do you need anybody,
I just need somebody to love,
Could it be anybody,
I want somebody to love.
I get by with a little help from my friends,
Yes I get by with a little help from my friends,
With a little help from my friends.

Picture yourself in a boat on a river,
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly,
A girl with kaleidoscope eyes.
Cellophane flowers of yellow and green,
Towering over your head.
Look for the girl with the sun in her eyes,
And she's gone.
Lucy in the sky with diamonds.
Follow her down to a bridge by a fountain
Where rocking horse people eat marshmellow pies,
Everyone smiles as you drift past the flowers,
That grow so incredibly high.
Newspaper taxis appear on the shore,
Waiting to take you away.
Climb in the back with your head in the clouds,
And you're gone.
Lucy in the sky with diamonds,
Picture yourself on a train in a station,
With plasticine porters with looking glass ties,
Suddenly someone is there at the turnstyle,
The girl with the kaleidoscope eyes.

read the news today oh boy
About a lucky man who made the grade
And though the news was rather sad
Well I just had to laugh
I saw the photograph.
He blew his mind out in a car
He didn't notice that the lights had changed
A crowd of people stood and stared
They'd seen his face before
Nobody was really sure
If he was from the House of Lords.
I saw a film today oh boy
The English Army had just won the war
A crowd of people turned away
but I just had to look
Having read the book.
I'd love to turn you on
Woke up, fell out of bed,
Dragged a comb across my head
Found my way downstairs and drank a cup,
And looking up I noticed I was late.
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke,
Somebody spoke and I went into a dream
I read the news today oh boy
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill the Albert Hall.
I'd love to turn you on

When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be.
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be.
Let it be, let it be.
Whisper words of wisdom, let it be.

And when the broken hearted people
Living in the world agree,
There will be an answer, let it be.
For though they may be parted there is
Still a chance that they will see
There will be an answer, let it be.
Let it be, let it be. Yeah
There will be an answer, let it be.

And when the night is cloudy,
There is still a light that shines on me,
Shine on until tomorrow, let it be.
I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom, let it be.
Let it be, let it be.
There will be an answer, let it be.
Let it be, let it be,
Whisper words of wisdom, let it be.

The long and winding road that leads to your door,
Will never disappear,
I've seen that road before It always leads me here,
leads me to your door.

The wild and windy night the rain washed away,
Has left a pool of tears crying for the day.
Why leave me standing here, let me know the way
Many times I've been alone and many times I've cried
Anyway you'll never know the many ways I've tried, but
Still they lead me back to the long and winding road
You left me standing here a long, long time ago
Don't leave me waiting here, lead me to you door
Da, da, da, da--

Something in the way she moves
Attracts me like no other lover
Something in the way she woos me

I don't want to leave her now
You know I believe her now

Somewhere in her smile she knows
That I don't need no other lover
Something in her style that shows me

Don't want to leave her now
You know I believe her now

You're asking me will my love grow
I don't know, I don't know
You stick around now it may show
I don't know, I don't know

Something in the way she knows
And all I have to do is think of her
Something in the things she shows me

Don't want to leave her now
You know I believe her now

[size=18]Oh yeah, all right
Are you going to be in my dreams
Tonight?
And in the end
The love you take
Is equal to the love you make.[/size]

Hey Jude, don't make it bad.
Take a sad song and make it better.
Remember to let her into your heart,
Then you can start to make it better.

Hey Jude, don't be afraid.
You were made to go out and get her.
The minute you let her under your skin,
Then you begin to make it better.

And anytime you feel the pain, hey Jude, refrain,
Don't carry the world upon your shoulders.
For well you know that it's a fool who plays it cool
By making his world a little colder.

Hey Jude, don't let me down.
You have found her, now go and get her.
Remember to let her into your heart,
Then you can start to make it better.

So let it out and let it in, hey Jude, begin,
You're waiting for someone to perform with.
And don't you know that it's just you, hey Jude, you'll do,
The movement you need is on your shoulder.

Hey Jude, don't make it bad.
Take a sad song and make it better.
Remember to let her under your skin,
Then you'll begin to make it
Better better better better better better, oh.

Na Na Na Na Na Na, Na Na Na, hey Jude...

You telling lies thinking I can't see
You don't cry 'cos you're laughing at me
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.

Man buys ring woman throws it away
Same damn thing happens everyday
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.

We're all alone and there's nobody else
You still moan: "Keep your hands to yourself!"
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.

Don't you know that I'm down (I'm really down)
Don't you know that I'm down (I'm really down)
Down on the ground (I'm really down)
Don't you know that I'm down (I'm really down)
Down, down, down.

Well, she was just 17,
You know what I mean,
And the way she looked was way beyond compare.
So how could I dance with another (ooh)
And I saw her standin' there.

Well she looked at me, and I, I could see
That before too long I'd fall in love with her.
She wouldn't dance with another (whooh)
And I saw her standin' there.

Well, my heart went "boom,"
When I crossed that room,
And I held her hand in mine...

Whoah, we danced through the night,
And we held each other tight,
And before too long I fell in love with her.
Now I'll never dance with another (whooh)
Since I saw her standing there

Well, my heart went "boom,"
When I crossed that room,
And I held her hand in mine...

Whoah, we danced through the night,
And we held each other tight,
And before too long I fell in love with her.
Now I'll never dance with another (whooh)
Since I saw her standing there  

[size=18]The world is treating me bad... Misery.

I'm the kind of guy,
Who never used to cry,
The world is treatin' me bad... Misery!

I've lost her now for sure,
I won't see her no more,
It's gonna be a drag... Misery!

I'll remember all the little things we've done
Can't she see she'll always be the only one, only one.

Send hewr back to me,
'Cause everyone can see
Without her I will be in misery

I'll remember all the little things we've done.
She'll remember and she'll miss her only one, lonely one.

Send her back to me,
'Cause everyone can see,
Without her I will be in misery (oh oh oh)
In misery (ooh ee ooh ooh)
My misery (la la la la la la)[/size]

κι ενα κομματι για την Αννα

Anna,
You come and ask me, girl,
To set you free, girl,
You say he loves you more than me,
So I will set you free,
Go with him.
Go with him.

Anna,
Girl, before you go now,
I want you to know, now,
That I still love you so,
But if he loves you mo',
Go with him.

All of my life,
I've been searchin' for a girl
To love me like I love you.
Oh, now.. But every girl I've ever had,
Breaks my heart and leaves my sad.
What am I, what am I supposed to do.

Anna,
Just one more thing, girl.
You give back your ring to me, and I will set you free,
Go with him.

Chorus

Anna,
Just one more thing, girl.
You give back your ring to me, and I will set you free,
Go with him.

I love you, 'cause you tell me things I want to know.
And it's true that it really only goes to show,
That I know,
That I, I, I, I should never, never, never be blue.

Now you're mine, my happiness still makes me cry.
And in time, you'll understand the reason why,
If I cry,
It's not because I'm sad, but you're the only love that I've ever had.

I can't believe it's happened to me
I can't conceive of any more misery.

Ask me why, I'll say I love you,
And I'm always thinking of you.

I love you, 'cause you tell me things I want to know.
And it's true that it really only goes to show,
That I know,
That I, I, I, I should never, never, never be blue.

Ask me why, I'll say I love you,
And I'm always thinking of you.

I can't believe it's happened to me.
I can't conceive of any more misery.

Ask me why, I'll say I love you,
And I'm always thinking of you

Last night I said these words to my girl,
I know you never even try, girl,
C'mon...
Please please me, whoa yeah, like I please you.

You don't need me to show the way, love.
Why do I always have to say "love,"
C'mon...
Please please me, whoa yeah, like I please you.

I don't wanna sound complainin',
But you know there's always rain in my heart (in my heart).
I do all the pleasin' with you, it's so hard to reason
With you, whoah yeah, why do you make me blue.

Last night I said these words to my girl,
I know you never even try, girl,
C'mon...
Please please me, whoa yeah, like I please you.  

Love, love me do.
You know I love you,
I'll always be true,
So please, love me do.
Whoa, love me do.

Love, love me do.
You know I love you,
I'll always be true,
So please, love me do.
Whoa, love me do.

Someone to love,
Somebody new.
Someone to love,
Someone like you.

Love, love me do.
You know I love you,
I'll always be true,
So please, love me do.
Whoa, love me do.

Love, love me do.
You know I love you,
I'll always be true,
So please, love me do.
Whoa, love me do.
Yeah, love me do.
Whoa, oh, love me do.

[size=18]As I write this letter,
Send my love to you,
Remember that I'll always,
Be in love with you.

Treasure these few words 'till we're together,
Keep all my love forever,
P.S., I love you.
You, you, you.

I'll be coming home again to you, love,
And 'till the day I do, love,
P.S., I love you.
You, you, you.

As I write this letter,
Send my love to you,
Remember that I'll always,
Be in love with you.

Treasure these few words 'till we're together,
Keep all my love forever,
P.S., I love you.
You, you, you.

As I write this letter, (Oh oh oh)
Send my love to you, (You know I want you to)
Remember that I'll always, (Yeah)
Be in love with you.

I'll be coming home again to you, love,
And 'till the day I do, love,
P.S., I love you.
You, you, you.
You, you, you.
I love you.  [/size]

[size=24]There is a place,
Where I can go,
When I feel low,
When I feel blue.
And it's my mind,
And there's no time when I'm alone.

I think of you,
And things you do,
Go 'round my head,
The things you said,
Like "I love only you."

In my mind there's no sorrow,
Don't you know that it's so.
There'll be no sad tomorrow,
Don't you know that it's so.

There is a place,
Where I can go,
When I feel low,
When I feel blue.
And it's my mind,
And there's no time when I'm alone.

There's a place...[/size]

Ev'ry night when ev'rybody has fun,
Here am I sitting all on my own,
It won't be long yeh, yeh,
It won't be long yeh, yeh,
It won't be long yeh, yeh,
Till I belong to you.

Since you left me I'm so alone,
Now you're coming, you're coming home,
I'll be good like I know I should,
You're coming home, you're coming home.

Ev'ry night the tears come down from my eyes,
Ev'ry day I've done nothing but cry.
It won't be long yeh, yeh.

Since you left me I'm so alone,
Now you're coming, you're coming home,
I'll be good like I know I should,
You're coming home, you're coming home.

Ev'ry day we'll be happy, I know,
Now I know that you won't leave me no more.
It won't be long yeh, yeh.

Whenever I want you around, yeah.
All I gotta do,
Is call you on the phone,
And you'll come running home,
Yeah, that's all I gotta do.

And when I, I want to kiss you, yeah.
All I gotta do,
Is whisper in your ear
The words you long to hear,
And I'll be kissin' you.

And the same goes for me,
Whenever you want me at all.
I'll be here, yes I will, whenever you call.
You just gotta call on me, yeah,
You just gotta call on me.

And when I, I want to kiss you, yeah.
All I gotta do,
Is call you on the phone,
And you'll come running home,
Yeah, that's all I gotta do.

And the same goes for me,
Whenever you want me at all.
I'll be here, yes I will, whenever you call.
You just gotta call on me, yeah,
You just gotta call on me.

καποτε, οταν στο ειχα στειλε, μου ειχες πει
-εννοεις κατι?
οχι ρε χαζο

[b]Close your eyes and I'll kiss you,
Tomorrow I'll miss you;
Remember I'll always be true.
And then while I'm away,
I'll write home ev'ry day,
And I'll send all my loving to you.

I'll pretend That I'm kissing
the lips I am missing
And hope that my draems will come true.
And then while I'm away,
I'll write home ev'ry day,
And I'll send all my loving to you.

All my loving I will send to you.
All my loving, darling I'll be true.[/b]

[b]Since she's been gone I want no one to talk to me.
It's not the same but I'm to blame, it's plain to see.

So go away, leave me alone, don't bother me.

I can't believe that she would leave me on my own.
It's just not right when every night I'm all alone.

I've got no time for you right now, don't bother me.

I know I'll never be the same if I don't get her back again.
Because I know she'll always be the only girl for me.

But 'till she's here please don't come near, just stay away.
I'll let you know when she's come home. Until that day,

Don't come around, leave me alone, don't bother me.

I've got no time for you right now, don't bother me.

I know I'll never be the same if I don't get her back again.
Because I know she'll always be the only girl for me.

But 'till she's here please don't come near, just stay away.
I'll let you know when she's come home. Until that day,

Don't come around, leave me alone, don't bother me.
Don't bother me.
Don't bother me.
Don't bother me.
Don't bother me.[/b]

Little child, little child,
Little child, won't you dance with me?
I'm so sad and lonely,
Baby take a chance with me.

If you want someone
To make you feel so fine,
Then we'll have some fun
When you're mine, all mine,
So come, come on, come on.

Little child, little child,
Little child, won't you dance with me?
I'm so sad and lonely,
Baby take a chance with me.

When you're by my side,
You're the only one,
Don't run and hide,
Just come on, come on,
So come on, come on, come on.

[size=18]It feels so right now, hold me tight,
Tell me I'm the only one,
And then I might,
Never be the lonely one.
So hold me tight, to-night, to-night,
It's you,
You you you - oo-oo - oo-oo.
Hold me tight,
Let me go on loving you,
To-night to-night,
Making love to only you,
So hold me tight, to-night, to-night,
It's you,
You you you - oo-oo - oo-oo.
Don't know what it means to hold you tight,
Being here alone tonight with you,
It feels so right now, feels so right now.
Hold me tight,
Tell me I'm the only one,
And then I might,
Never be the only one,
So hold me tight, to-night, to-night,
It's you,
You you you - oo-oo - oo-oo.
Don't know what it means to hold you tight,
Being here alone tonight with you,
It feels so right now, feels so right now.
Hold me tight,
Let me go on loving you,
To-night, to-night,
Making love to only you,
So hold me tight, to-night, to-night,
It's you,
You you you - oo-oo - oo-oo.[/size]

[size=24]wanna be your lover baby,
I wanna be your man,
I wanna be your lover baby,
I wanna be your man.
Tell me that you love me baby,
Like no other can,
Love you like no other baby,
Like no other can.
I wanna be your man,
I wanna be your man.
Tell me that you love me baby,
Tell me you understand,
Tell me that you love me baby,
I wanna be your man.
I wanna be your lover baby,
I wanna be your man,
I wanna be your lover baby,
I wanna be your man.
I wanna be your man,
I wanna be your man.
I wanna be your lover baby,
I wanna be your man,
I wanna be your lover baby,
I wanna be your man.
Tell me that you love me baby,
Like no other can,
Love you like no other baby,
Like no other can.
I wanna be your man,
I wanna be your man.[/size]

[size=24]Yoy know you made me cry,
I see no use in wond'ring why,
I cried for you.

And now, you've changed your mind,
I see no reason to change mine,
I cried, it's through, oh.

Oh, you're giving me the same old line,
I'm wond'ring why,
You hurt me then, you're back again,
No, no, not a second time.[/size]

[size=18]It's been a hard day's night, and I been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I'll find the things that you do
Will make me feel alright

You know I work all day to get you money to buy you things
And it's worth it just to hear you say you're going to give me everything
So why on earth should I moan, 'cause when I get you alone
You know I feel ok

When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight

Owww!

So why on earth should I moan, 'cause when I get you alone
You know I feel ok

You know I feel alright
You know I feel alright[/size]

should have known better with a girl like you
That I would love everything that you do
And I do, hey, hey, hey, and I do.
Whoa, woah, I never realized what a kiss could be
This could only happen to me;
Can't you see, can't you see?
That when I tell you that I love you, oh,
You're gonna say you love me too, hoo, hoo, hoo, hoo, oh,
And when I ask you to be mine,
You're gonna say you love me too.

So, oh, I should have realized a lot of things before
If this is love you've got to give me more
Give me more, hey hey hey, give me more
Whoa, whoa, I never realized what a kiss could be
This could only happen to me
Can't you see, can't you see?
And when I tell you that I love you, oh
You're gonna say you love me too, oh
And when I ask you to be mine,
You're gonna say you love me too,
You love me too
You love me too

If I fell in love with you
Would you promise to be true
And help me understand
'cause I've been in love before
And I found that love was more
Than just holding hands

If I give my heart to you
I must be sure
From the very start
That you would love me more than her

If I trust in you oh please
Don't run and hide
If I love you too oh please
Don't hurt my pride like her
'cause I couldn't stand the pain
And I would be sad if our new love was in vain

So I hope you see that I
Would love to love you
And that she will cry
When she learns we are two

If I fell in love with you

[size=12]Before this dance is through
I think I'll love you too
I'm so happy when you dance with me
I don't want or need to hold your hand
Well it's only try and understand
'cause there's really nothing I would rather do
'cause I'm happy just to dance with you

I don't need to kiss or hold you tight
I just want to dance with you all night
In this world there's nothing I would rather do
'cause I'm happy just to dance with you
Just to dance with you
It's everything I need

Before this dance is through
I think I'll love you too
I'm so happy when you dance with me
If somebody tries to take my place
Let's pretend we just can't see his face
In this world there's nothing I would rather do
'cause I'm happy just to dance with you
Just to dance with you
It's everything I need

Before this dance is through
I think I'll love you too
I'm so happy when you dance with me
If somebody tries to take my place
Let's pretend we just can't see his face
In this world there's nothing I would rather do
'cause I'm happy just to dance with you
Just to dance with you
It's everything I need

I discovered I'm in love with you
'cause I'm happy just to dance with you[/size]

[size=24]I give her all my love
That's all I do
And if you saw my love
You'd love her too
I love her

She gives me ev'rything
And tenderly
The kiss my lover brings
She brings to me
And I love her

A love like ours
Could never die
As long as I
Have you near me

Bright are the stars that shine
Dark is the sky
I know this love of mine
Will never die
And I love her

Bright are the stars that shine
Dark is the sky
I know this love of mine
Will never die
And I love her[/size]

Tell me why you cried, and why you lied to me,
Tell me why you cried, and why you lied to me.

Well I gave you ev'rything I had,
But you left me sitting on my own,
Did you have to treat me oh so bad,
All I do is hang my head and moan.

Tell me why you cried, and why you lied to me,
Tell me why you cried, and why you lied to me.

If there's something I have said or done,
Tell me what and I'll apologize,
If you don't really can't go on,
Holding back these tears in my eyes.

Tell me why you cried, and why you lied to me,
Tell me why you cried, and why you lied to me.

Well I beg you on my bended knees,
If you'll only listen to my pleas,
Is there anything I can do,
'cause I really can't stand it, I'm so in love with you.

Tell me why you cried, and why you lied to me.

Can't buy me love, love
Can't buy me love

I'll buy you a diamond ring my friend if it makes you feel alright
I'll get you anything my friend if it makes you feel alright
'Cause I don't care too much for money, money can't buy me love

I'll give you all I got to give if you say you love me too
I may not have a lot to give but what I got I'll give to you
I don't care too much for money, money can't buy me love

Can't buy me love, everybody tells me so
Can't buy me love, no no no, no

Say you don't need no diamond ring and I'll be satisfied
Tell me that you want the kind of thing that money just can't buy
I don't care too much for money, money can't buy me love[/b][/i]

Any time at all, any time at all, any time at all , all
you've gotta do is call and I'll be there.
If you need somebody to love, just look into my eyes, I'll
be there to make you feel right.
If you're feeling sorry and sad, I'd really sympathize.
Don't you be sad, just call me tonight.
Any time at all, any time at all, any time at all , all
you've gotta do is call and I'll be there.
If the sun has faded away, I'll try to make it shine,
there's nothing I won't do
If you need a shoulder to cry on I hope it will be mine.
Call me tonight, and I'll come to you.
Any time at all, any time at all, any time at all , all
you've gotta do is call and I'll be there.
Any time at all, all you've gotta do is call and I'll be there.

The Beatles are among the most influential popular music artists of the second half of the 20th century, affecting the culture of Britain and America and the postwar baby boom generation, and the entire English-speaking world, especially during the 1960s and early 1970s. Certainly they're the most successful, with global sales reaching past 1.2 thousand million records sold as of 2003. Their influences on popular culture extended far beyond their roles as recording artists, as they branched out into film and even semi-willingly became spokesmen for their generation. The members of the group were John Lennon, Paul McCartney, George Harrison and Ringo Starr (Richard Starkey), all from Liverpool, England. The effect of the Beatles on Western culture (and by extension) on the rest of the world has been immeasurable.
Originally a high-energy pop band (typified by the early singles "Twist and Shout" and "Please Please Me"), as the Beatles progressed their style became more sophisticated, influenced in equal measure by Bob Dylan and Chuck Berry. Their popularity was also aided by their attractive looks, distinctive personalities, and natural charisma; particularly on television where they appeared on The Ed Sullivan Show and others.

This was the beginning of Beatlemania in which the committed pop-music band found itself turned into a worldwide phenomenon with worshipful fans, hysterical adulation, and denunciations by others such as Frank Sinatra. None of this had much to do with music and was regarded by the band members with intermittent awe and resentment.


The Beatlemania Years
 
The Beatles recorded their first full length album, live in the studio, on February 11, 1963 in one 12 hour session. On February 22, 1963 the Beatles' second single, "Please Please Me" went straight to No. 1. Meet the Beatles, the first Beatles album in the United States, was released on January 20, 1964. On February 7, 1964 The Beatles travelled to New York for a number of U.S television appearances and performances. Upon arriving at JFK airport, The Beatles noticed thousands of kids screaming and awaiting the plane's arrival. They assumed that there must have been someone important on the plane with them and were a bit shocked to learn that the crowds were actually there for them.

On February 9, 1964 The Beatles performed on The Ed Sullivan Show for the first time. To this day it remains one of the highest rated television programs of all time, with 73 million people tuning in. The Beatles made four more live appearances on the show in months to come. Two days later, on February 11 in the Washington, DC Coliseum, The Beatles made their first live stage appearance in the United States.

On April 4, 1964, The Beatles set a record that has yet to be broken when they occupied all five top positions on Billboard's Top Pop Singles chart. Their single "Can't Buy Me Love" was at number one. In August of that year, The Beatles' first motion picture was released, A Hard Day's Night. They started filming their second film, Help on February 23, 1965 in the Bahamas.


A condensed history
Lennon met McCartney at a garden fete, and joined his band, The Quarry Men, into which McCartney also recruited Harrison. The band briefly split before regrouping. After going through several changes in name and band members, it finally became "the Beatles" under the EMI's Parlophone label. The Beatles' first full-length album, Please Please Me, was recorded within 12 consecutive hours. In 1964 they held the top five places on Billboard's Top Pop Singles Chart, a feat which has never been repeated.

In 1965 they began experimenting with LSD and were created as Members of the Order of the British Empire. Lennon caused a great backlash against the Beatles the following year when in an interview he claimed that Christianity was dying. Eventually he apologised after being slammed by among others, the Holy See.

That same year the Beatles performed their last concert. Their fortunes took a turn for the worse when their manager, Brian Epstein, passed away, and the band's affairs began to unravel. The various members began to pursue their individual interests and got together less often. In 1969 they recorded their last album, Abbey Road (although in 1970 various songs recorded earlier were compiled into Let It Be). In the same year, the Paul Is Dead hoax sprang up. The band officially broke up in 1970, and any hopes of a reunion were crushed when Lennon was murdered in 1980.
 

Studio Style Evolution
By 1966 the influence of the peace movement, psychedelic drugs and the studio technique of producer George Martin resulted in the albums Revolver and Sgt. Pepper's Lonely Hearts Club Band, still widely regarded as classics. Particularly notable, along with the use of studio tricks such as sound processing, unconventional microphone placements, and vari-speed recording, was the Beatles' use of unconventional instruments for pop music, including string and brass elements, Indian instruments such as the sitar, and early electronic instruments. At the height of their fame in the mid-sixties, bolstered by the two films Help and A Hard Day's Night, the band discontinued touring. The increasingly sophisticated arrangements of their songs were difficult to perform in front of thousands of screaming fans who typically made such noise that the music could not be heard anyway.

By then, the stress of their fame was beginning to tell and the band was on the verge of splitting at the time of the release of The Beatles (the "white album"), with some tracks recorded by the band members individually, and Starr taking a two-week holiday in the middle of the recording session. By 1970 the band had split, with each of the members going on to solo careers with varying degrees of success.

The psychedelic years
In early 1965, Lennon and Harrison were dosed with LSD by their dentist. In the ensuing years, the Beatles met with psychedelic counterculture icon Timothy Leary, experimented extensively with LSD and released two heavily LSD-influenced albums, Revolver and Sgt. Pepper's Lonely Hearts Club Band.

On June 12, 1965, The Beatles were individually awarded the order of Member of the British Empire (MBE) by the Queen. Since it was unusual for rock stars to receive the MBE, some previous recipients complained and protested, and a small number went so far as to return their own honours, complaining they had been "devalued". (Some had received the award for military heroism.) Lennon would return his own in 1969 with the note

 

"Your Majesty, I am returning my MBE in protest against Britain's involvement in the Nigeria-Biafra thing, against our support of America in Vietnam and against "Cold Turkey" slipping down in the Charts.
"With love,
"John Lennon"

Achievements
Throughout their relatively short time recording and performing together, The Beatles set a number of world records - most of which have yet to be broken. The following is a partial list.

The Beatles are the best selling musical group of all time, estimated by EMI to be over one billion discs and tapes sold worldwide.
The most multi-platinum selling albums for any artist or musical group (13 in the U.S. alone)
The Beatles have had more number one singles than any other artist or musical group (22 in the U.S. alone). Ironically, the Beatles could easily have had even more number ones, because they were often competing with their own singles. For example, The Beatles' "Penny Lane" and "Strawberry Fields Forever" were released as a "double A" sided single, which caused sales and airplay to be divided between the two songs instead of being counted collectively. Even so, they reached number two with the singles.
The most successful first week of sales for a double album (The Beatles Anthology Volume 1), which sold 855,473 copies in the U.S. from November 21 to November 28, 1995).
In terms of charting positions, Lennon and McCartney are the most successful songwriters in history, with 32 number one singles in the U.S. for McCartney, and 26 for Lennon (23 of which were written together). Lennon was responsible for 29 number one singles in the U.K., and McCartney was responsible for 28 (25 of which were written together).
During the week of April 4, 1964, The Beatles held the top 5 positions on the Billboard singles chart. No one had ever done anything like this before, and it is doubtful that the conditions will ever exist for anyone to do it again. The songs were "Can't Buy Me Love", "Twist and Shout", "She Loves You", "I Want to Hold Your Hand", and "Please Please Me".
The next week, April 11, 1964, the Beatles held 14 positions on the Billboard Hot 100. Before the Beatles, the highest number of concurrent singles by one artist on the Hot 100 was nine (by Elvis Presley, December 19, 1956).
The Beatles are the only artist to have back-to-back-to-back number one singles on Billboard's Hot 100. Boyz II Men and Elvis Presley have succeeded themselves on the chart, but the Beatles are the only artist to three-peat.
The Beatles' "Yesterday" is the most covered song in history, appearing in the Guinness Book of Records with over 3000 recorded versions.
The Beatles had the fastest selling single of all time with "I Want To Hold Your Hand". The song sold 250,000 units within 3 days in the U.S., one million in 2 weeks. (10,000 copies per hour in New York City alone for the first 20 days)
The largest number of advance orders for a single, at 2.1 million copies in the U.S. for "Can't Buy Me Love"
With their performance at Shea Stadium in 1965, The Beatles set new world records for concert attendance (55,600+) and revenue.
The Beatles broke television ratings records in the U.S. with their first appearance on the Ed Sullivan show.
On June 12, 1965, The Beatles were awarded the order of Member of the British Empire (MBE) by the Queen.
On July 2, 1966, The Beatles became the first musical group to perform at the Nippon Budokan Hall in Tokyo.

The Music
Unlike their contemporaries the Rolling Stones, the Beatles were seldom directly influenced by blues. Though they drew inspiration from an eclectic variety of sources, their home idiom was closer to pop music. Chuck Berry was perhaps the most fundamental progenitor of the Beatles' sound, the Beatles covered "Roll Over Beethoven" and "Rock And Roll Music" early in their carrers on record (with most other Berry classics heard in their live repetoire). Chuck Berry's influence is also heard, in an altered form, in later songs such as "Everybody's Got Something to Hide Except Me And My Monkey" (1968) and "Come Together" (1969).

A significant and acknowledged musical influence was the Beach Boys, who were in turn spurred on by the work of the Beatles. The song Back in the USSR contains an overt allusion to the Beach Boys, but many other songs exhibit the kind of attention to vocal harmony for which the Beach Boys are also famous.

Individually, the four Beatles drew further inspiration from different sources. John Lennon's early style owed a huge debt to Buddy Holly and Roy Orbison ("Misery" 1963 and "Please Please Me" from 1963). After becoming acquainted with the work of Bob Dylan, Lennon became influenced heavily by folk music ("You've Got To Hide Your Love Away" and "Norwegian Wood" from 1965). Lennon played the major role in steering the group toward psychedelia ("Strawberry Fields Forever" and "I Am The Walrus" 1967), and renewed his interest in earlier rock forms at the close of the Beatles' career ("Don't Let Me Down" 1969).

Paul McCartney is perhaps best known as the groups romantic balladeer, beginning with "Yesterday" (1965) he pioneered a modern form of art song, exemplified by "Eleanor Rigby" (1966) and "She's Leaving Home" (1967). Meanwhile, Paul maintained an affection for the driving R&B of Little Richard, in a series of songs which John Lennon dubbed "potboilers", from "I Saw Her Standing There" (1963) to "Lady Madonna" (1968). "Helter Skelter" (1968), which is the closest the Beatles ever came to heavy metal music, is a McCartney composition.

George Harrison derived his early guitar style from 1950's rockabilly greats such as Carl Perkins, Scotty Moore (who worked with Elvis Presley), and Duane Eddy. "All My Loving" (1963) and "She's A Woman" (1964) are prime examples of Harrison's early rockabilly guitar work.

In 1965, George Harrison broke new ground by recording with an Indian sitar on "Norwegian Wood". Many of his following compositions were based on Indian forms, most notably "Love to You" (1966), "Within You, Without You" (1967), and "The Inner Light" (1968). Indian music also influenced the band as a whole, with the use of swirling tape loops, droning bass lines, and mantra-like vocals on "Tomorrow Never Knows" (1966) and "Dear Prudence" (1968). George returned to Western musical forms in his later compositions, where he emerged as a significant pop composer in his own right. His later guitar style, while not displaying the virtuosity of Jimi Hendrix and Eric Clapton, became distinctive with its use of clear melodic lines and subtle fills ("Something", "Let It Be" (1969)) in constrast to the increasingly distorted riffs and rapid fire guitar solo work of his contemporaries.

Ringo Starr's contributions to the Beatles' sound are widely underestimated. While he is mostly appreciated for his gentle comic baritone ("Yellow Submarine" (1966)), steady drumming, and everyman image, he was likely responsible for the group's occasional interest in surprisingly authentic country sounds ("What Goes On" (1965), "Don't Pass Me By" (1968)).

In their later music the pace of the songs tends to be moderate, with more of the interest usually (but not always) coming from the melody and the orchestration than the rhythm. Penny Lane (1967) is a good example of this style; it is a song you might emulate if you wanted to create a recognizably "Beatlesque" sound. Their earlier songs were often a bit faster paced. Throughout their career, their songs were rarely riff-driven. "Day Tripper" (1965) and "Hey Bulldog" (1968) are among the exceptions.


Song Influences
As stated above, a lot of Beatles songs had some psychedelia in them ("Yellow Submarine", "Lucy in the Sky with Diamonds", " I am the Walrus" from 1967) but these also link to The Goon Show and the work of Lewis Carroll and Edward Lear. Both "Penny Lane" and "Strawberry Field(s)" are places in Liverpool, but the song In My Life (1965) also invokes such ideas. The song "Being For the Benefit of Mr Kite" (1967) is based on a Music Hall poster and the song "All Together Now" (1968) is based around children's rhymes.A handful of Beatles' songs both musically and lyrically border on the dadaist or absurd ("Everybody's Got Something To Hide Except Me and My Monkey", "You Know My Name (Look Up The Number)", and "Why Don't We Do It In The Road", from 1968).

While romantic themes permeate the Beatles' work, in contrast to the Rolling Stones, The Who, and The Doors, songs with overtly sexual themes are rare in the Beatles catalogue. "Norwegian Wood" very obliquely refers to sexual infidelity, and "Lovely Rita" (1967) alludes to casual sex. "Happiness is a Warm Gun" (1968) is a rare Beatles' song that deals with erotic imagery. The "Ballad Of John and Yoko" (1969) also raised some eyebrows with a sexual pun ("were only trying to get us some peace"), as well as the use of Christ as an expletive in the chorus.

After the Breakup
On December 8, 1980, John Lennon was murdered in front of his New York City apartment by a mentally deranged fan, Mark David Chapman, thus forever crushing any hope of a Beatles reunion. His death was mourned by millions of fans around the world.

Singer Michael Jackson bought the publishing rights for most of the Beatles' music, on August 10, 1985, for $47 million. McCartney, who had been attempting to purchase the rights himself, had told Jackson that he should get into publishing. McCartney did not expect Jackson to purchase the Beatles music. "I wrote a couple of letters and I said, Michael, don't you think that - even if I was just a writer on the payroll - after 30 years of being reasonably successful to this company that you now own, don't you think I could have a raise?" said McCartney. "And he said 'Oh Paul, that's just business'. He won't even answer my letters, so we haven't talked and we don't have that great a relationship. The trouble is I wrote those songs for nothing and buying them back at these phenomenal sums... I just can't do it." This is an example of how future royalties of an entertainment work are difficult to value and how creators should be cautious in making business decisions.

In 1988, The Beatles were inducted into the Rock and Roll Hall of Fame. Both Lennon and McCartney were also inducted separately in later years.

On November 30, 1994, Apple Records released a 2 CD collection of early Beatles performances on the BBC, entitled Live At The BBC.

In February of 1994, the three surviving Beatles reunited to produce and record additional music to a few of Lennon's old unfinished demos, with Jeff Lynne co-producing. The first new song, "Free As A Bird", premiered November 19, 1995 as part of The Beatles Anthology series of television specials on the ABC network in the US and ITV in the UK. The song was also included on a CD with the same title, which was released on November 21, 1995. The following year, a second "new" track was released, entitled "Real Love", on March 4, 1996. That song was also included on the second Anthology collection which was released on March 18, 1996. A third Anthology collection followed on October 12, 1996, but did not include any new material. At least one other song, entitled "Now And Then", was worked on during these sessions, but remains unreleased.

In 2000, The Beatles released a best of collection, entitled "1". The CD included 27 number one hits by the band and, within five weeks, became the best selling album of the year. Later that year, The Beatles released the Anthology book, which included interviews with all four band members and others involved, plus rare photos. The book went straight to the top of the New York Times bestsellers list.

George Harrison fought a long battle with lung and brain cancer throughout the 1990s, finally succumbing and passing away on November 29, 2001.

In 2002, the Let It Be film was being restored and prepared for release on DVD sometime in 2004. It is expected that the DVD will include additional footage, not seen in the original film. The album Let It Be... Naked, featuring stripped-down (but intended) versions of the original album, was released in November, 2003.

In January, 2003, following an investigation by The International Federation of the Phonographic Industry and London detectives, police raids in England and the Netherlands recovered nearly 500 original Beatles studio tapes, recorded during the Let It Be sessions. Five people were arrested. The tapes have been used for bootleg releases for years.

In March, 2003, the Anthology television series was released on DVD with additional bonus material.

Several individuals who played an important role in the history or promotion of the band have at various times been called, or called themselves, the "fifth Beatle".

The following individuals were real members of the band before the Beatles achieved international success:

Pete Best - Their drummer before being replaced by Ringo Starr.
Stuart Sutcliffe - A bassist (apparently very shy) who left the group in Hamburg for the love of Astrid Kirchherr and died from a brain hemorrhage on April 10, 1962 . His life, and his friendship with John Lennon, was fictionalized in the 1993 movie Backbeat.
Chas Newby - bassist in Germany, 1960. Left the band to return to college.
Tommy Moore - drummer for the Silver Beetles for one month in 1960. Quit the band, claiming to have had "just about enough of Lennon".
Norman Chapman - drummer for the Silver Beetles for a few weeks in 1960. Left when conscripted into the Army for two years service in Kenya and Kuwait.
The following individuals have played a role in the studio when Beatles records were recorded:
George Martin - Their producer, who translated their musical ideas into studio productions, and also did some piano work on, for example "In My Life"
Jeff Lynne - co-producer for The Beatles Anthology and 1994-1995 sessions
Geoff Emerick - studio engineer
Mal Evans - roadie and assistant
Neil Aspinall - assistant, road manager
Andy White - drummer on the Beatles' first single, "Love Me Do"
Billy Preston - Organist on "Let It Be", electric piano player on "Get Back" and "Don't Let Me Down", first met them in their Hamburg days while touring with Little Richard
Eric Clapton - Lead guitarist on "While My Guitar Gently Weeps"
Alan Civil - French horn soloist on "For No One"
David Mason - piccolo trumpet soloist on "Penny Lane"
Others have been associated with the Beatles in several ways. These include:
Allan Williams - original manager
Brian Epstein - The manager who took them from Hamburg to the world stage
Tony Barrow - press officer 1963-1968
Derek Taylor - assistant to Brian Epstein, press officer 1968-1971
Alf Bicknell - Chauffeur until 1966, body guard
Murray the K - A disc jockey in New York, the first to claim to be the fifth Beatle
Dick James - publisher
Magic Alex - head of Apple electronics
Klaus Voormann - German bassist and artist; a friend of Stu Sutcliffe's girlfriend Astrid Kirchherr member of the Plastic Ono Band, drew the cover for Revolver.
Jimmy Nicol - temporary drummer on the Beatles' 1964 overseas tour
Roy Orbison - In 1963 the American rock and roll star headlined a European tour with the Beatles. Recognizing their unique sound and extraordinary talent, and the reaction of the crowds to their performances, Orbison was instrumental in encouraging the fledgling group to come to the United States.

και η αποψη του Γ. Πετριδη στο περιοδικο Περιοδικό Ποπ & Ροκ
Σεπτέμβριος 1978
Αρ. Τεύχους 7


Θέλετε να σας πω τι αντιπροσωπεύει η λέξη Μπήτλς; Για την γενιά μου που τους έζησε στα μέσα της 10ετίας του 60 οι Μπήτλς ήταν τέσσερα νέα παιδιά που μας χάρισαν τον ωραιότερο ήχο που ακούσαμε ποτέ - και ποιος ξέρει ίσους μας τον ξαναχαρίσουν. Έγραψαν άπειρα τραγούδια που άφησαν εποχή και θα συνεχίζουν να είναι ορόσημα στο μουσικό στιλ που αυτοί καθιέρωσαν. Τώρα όμως ο Τζών και ο Ρίνγκο έγιναν 38 ετών, ο Πώλ σχεδόν 36 και ο Βενιαμίν Τζώρτζ έφθασε και αυτός τα 35. Τι σημασία όμως έχουν αυτά. Δεν έχεις παρά να κλείσεις τα μάτια σου και ν’ αφήσεις το μυαλό σου να πάει πίσω στο 1962. Ας μπορούσαμε να φέρουμε πίσω εκείνη την εποχή. Η ποπ μουσική εκείνων των ημερών στην Αγγλία ήταν αποκλειστικότης του Κλίφ Ρίτσαρντ, με πίσω του τους Σπρίνγκφιλντς Μάϊκ Σέρν, Κέννυ Μπώλ και Εντεν Καίην με μεγάλη διαφορά μήκους. Τότε άρχισε να διαγράφει τροχιά ένα μικρό αστεράκι που το αποτελούσαν τέσσερα νέα παιδιά με το όνομα Δε Μπήτλς. Ο κόσμος άρχισε να λέει ότι μοιάζουν με τους Έβερλυς ή τους Μπρούκς, ανάλογα με τις προτιμήσεις του καθενός. Ήταν η εποχή που δειλά δειλά οι Μπήτλς ηχογράφησαν το πρώτο τους σίνγκλ «Λάβ μη ντου». Αυτόν τον δίσκο είναι φανερό πώς κάτι τον έκανε να ακούγεται διαφορετικά. Ίσως η αρμόνικα που ακουγόταν από πίσω διακριτικά ή το λίγο Λάτιν στιλ που είχαν στο παίξιμο τους, ή το φωνητικό τους, του ήταν σε στιλ μπαλάντας.

Παρ’ όλα αυτά περνούν δύο μήνες χωρίς το Λάβ μη ντου να σημειώσει επιτυχία. Μέχρι τις 10 Νοεμβρίου του '62 ο δίσκος βρίσκεται σε νάρκη, όταν ξαφνικά μπαίνει στο τοπ 30 και κατακτά την 28η θέση. Παρ' όλα αυτά όμως ο κόσμος τους κατατάσσει στην κατηγορία των πολλών. Εκείνοι όμως ετοιμάζουν το δεύτερο σίνγκλ τους. Είναι το «Πλήζ πλήζ μη». Ο μάνατζερ τους Μπράϊαν Επστέϊν δεν συμφωνεί με τον τίτλο. Οι Μπήτλς επιμένουν και μάλιστα ηχογραφούν και το πρώτο ελ πί τους με τον ίδιο τίτλο. Τον Ιανουάριο του '63 τα πράγματα δείχνουν ότι όλα θα πάνε καλά και στην δεύτερη προσπάθεια τους. Πράγματι τρεις εβδομάδες αργότερα ο δίσκος έχει φθάσει στο No 9 και στο τέλος Φεβρουαρίου σκάει η βόμβα, το Πλήζ πλήζ μη No 1.

Αμέσως ετοιμάζουν περιοδείες στην Αγγλία στην Αμερική και Καναδά. Τον Μάρτιο ένα νέο κύμα Μερσεϋμανίας εμφανίζεται με τους Τζέρρυ έντ δε Πέϊσμέϊκερ και ένα τραγούδι «Χάου ντου γιου ντου».

Οι Μπήτλς όμως κλέβουν πάλι τα πρωτεία με ένα σόου που κάνουν με τους Κρίς Μοντές και Τόμυ Ρόε. Ο σκληροτράχηλός μάνατζερ τους Επστέϊν δεν τους αφήνει να επαναπαυτούν στις πρώτες δόξες τους. Δουλεύουν σκληρά και περνούν από τα σκοτεινά κλάμπς του Αμβούργου και του Λίβερπουλ. Πανέτοιμοι ξεκινούν αργότερα για να κατακτήσουν (την υδρόγειο. Στην Αγγλία από όπου περνούν δημιουργούν υστερία, αλλά και στην Αμερική χρειάζεται να επέμβει η αστυνομία για να συγκρατήσει τους έξαλλους νέους που παθαίνουν κρίσεις υστερίας. Ακολουθεί μια ατελείωτη αλυσίδα επιτυχιών και εμφανίσεων που κανένα συγκρότημα δεν γνώρισε και δεν είναι δυνατόν να γνωρίσει. Και φθάνουμε στο '67. Κυκλοφορούν ένα άλμπουμ που έμελλε ν’ αλλάξει το ύφος του ροκ. Είναι «Σάρτζεντ πέπερ» που μπορεί να χαρακτηρισθεί σαν το καλύτερο ροκ - ποπ άλμπουμ που έγινε ποτέ. Μετά ήρθε το «Μάτζικαλ Μίστερυ Τουρ» μία επιλογή παλαιού και νέου υλικού των Μπήτλς. Έχουμε φθάσει στον Νοέμβριο του '68 και το γκρουπ είναι ακαταμάχητο. Οι μουσικοκριτικοί λένε για τους Μπήτλς ότι μπορούν να σέρνουν όλα τα διάσημα συγκροτήματα από την μύτη. Οι χρυσοί δίσκοι είναι κάτι πλέον δεν εκπλήσσει κανέναν και η Μπητλομανία είναι η εξωτική αρρώστια της εποχής. Παρόλα αυτά δεν είναι μόδα. Ο μεγαλύτεροι μουσικοί της εποχής τους αναγνωρίζουν σαν φαινόμενο.

Το Γέλλοου Σάμπμαρίν ακολουθεί το άλμπουμ «Μάτζικαλ Μύστερυ Τουρ» και τέλος το Λέτ ίτ Μπή. Ένα τέλος όμως που δεν μπορεί να το απαλύνει τίποτε. Οι δίσκοι που πρόσφατα επανακυκλοφόρησαν δεν μπορούν παρά μόνον μας θυμίσουν τι έγινε από το 1962 μέχρι το 70. Μία πικρή ίσως ανάμνηση για κάτι χάθηκε. Αλήθεια τι κρίμα

...................Οι Μπητλς είναι μια παραλλαγή του υπαρξισμού, καλά σχεδιασμένη, ώστε να ξεσηκώνει τον κόσμο". "Ο υπαρξισμός σαν οργανωμένη αίρεσις απέθανε. Θα αποθάνουν και οι Μπητλς. Κάποιοι άλλοι όμως θα ξεφυτρώσουν - καθώς τα σπυριά εις τους ασθνείς οργανισμούς"!!!
..............................
..........Οι Μπητλς είναι οι κάνθαροι της Βρετανίας, παράγωγον της σημερινής ζωής εις την Αλβιόνα. Είναι οι απροσάρμοστοι, εκείνοι που δεν βρίσκουν ότι το κοινωνικόν κλίμα τους επιτρέπει να εργάζονται και να ζουν καθώς ο άλλος κόσμος. Περιφέρονται ανά την υφήλιον, με τα μαλλιά τους ακούρευτα και τραγουδούν και διδάσκουν την απειθαρχίαν εις τους κοινωνικούς νόμους"!..................


οσο και να φαινεται περιεργο τα αποσπασματα αυτά ειχαν δημοσιευθε΄ιστην εφημεριδα ΘΕΣΣΑΛΟΝΙΚΗ, στο 1964
Το δημοσίευμα, με προέλευση το Λος Αντζελες, φέρει ημερομηνία 26 Αυγούστου 1964.

αυτή ηταν η αποψη της καθεστηκιας ταξης για τους Μπητλς την δεκατεια του 1960, οπως εκφραζοταν σε διαφορα δημοσιευματα

και ιεχαν δικιο να φοβουνται
να νοιωθουν να τριζουν οικ καρεκλες τους
ειχαν δικιο
γιατι παντα το παλικο φοβαται το νεό
ειχαν δικιο
γιατι η αρτηριοσκληρωση δεν συμβαδιζει με την ελευθερία

η παγκοσμια εξεγερση στο τελος της δεκαετίας του 1960 ειχε σαν συνθηματα στιχους απο τραγουδια των beatles
You say you want a revolution


Well you know
we all want to change the world
You tell me that it's evolution
Well you know
We all want to change the world
But when you talk about destruction
Don't you know you can count me out
Don't you know it's gonna be alright
Alright Alright

You say you got a real solution
Well you know
we'd all love to see the plan
You ask me for a contribution
Well you know
We're doing what we can
But when you want money for people with minds that hate
All I can tell you is brother you have to wait
Don't you know it's gonna be alright
Alright Alright

You say you'll change the constitution
Well you know
we all want to change your head
You tell me it's the institution
Well you know
You better free your mind instead
But if you go carrying pictures of Chairman Mao
You ain't going to make it with anyone anyhow
Don't you know know it's gonna be alright
Alright Alright


[Bottle of Claret for you if I had realized...

Well, do it next time.

I forgot about it, George, I'm sorry.
Will you forgive me?

Yes.]

Number 9, number 9, number 9, number 9, number 9
Number 9, number 9, number 9, number 9, number 9
Number 9, number 9, number 9, number 9, number...

...then there's this Welsh Rarebit wearing some brown underpants
...about the shortage of grain in hertfordshire

Everyone of them knew that as time went by they'd get a little bit older and a litter slower but...

It's all the same thing, in this case manufactured by someone who's always/umpteen ...
Your father's giving it diddly-i-dee/district was leaving...
Intended to die ... Ottoman
...long gone through...
I've got to say, irritably and...
...floors, hard enough to put on ... per day's MD in our district
There was not really enough light to get down
And ultimately ... slumped down
Suddenly...

They may stop the funding...
Place your bets
The original
Afraid she'll die ...
Great colours for the season

Number 9, number 9

Who's to know?
Who was to know?

Number 9, number 9, number 9, number 9, number 9
Number 9, number 9, number 9, number 9, number 9
Number 9, number 9

I sustained nothing worse than ...

Also, for example
Whatever you're doing
A business deal falls through

I informed him on the third night, when fortune gives...

People ride, people ride
Ride, ride, ride, ride, ride

Number 9, number 9, number 9, number 9

Ride! Ride!

Number 9, number 9, number 9, number 9

...I've missed all of that
It makes me a few days late
Compared with, like, wow!
And weird stuff like that...

...taking our sides sometimes
...floral bark

Rouge doctors have brought this specimen

I have nobody's short-cuts, aha...

9, number 9

...with the situation

They are standing still

The plan, the telegram...
Number 9, number...

A man without terrors from beard to false
As the headmaster reported to my son
He really can try, as they do, to find function...
Tell what he was saying, and his voice was low and his hive high
And his eyes were low...

Alright!

It was on fire and his glasses were the same
This thing knows if it was tinted
But you know it isn't
To me it is...

Number 9, number 9, number 9, number 9, number 9
Number 9, number 9, number 9, number 9, number 9
Number 9

So the wife called me and we'd better go to see a surgeon to price it ...
Yellow underclothes
So, any road, we went to see the dentist instead
Who gave her a pair of teeth which wasn't any good at all
So I said I'd marry, join the fucking navy and went to sea

In my broken chair, my wings are broken and so is my hair

I'm not in the mood for whirling

How? dogs for dogging, hands for clapping
Birds for birding and fish for fishing
Them for themming and when for whimming

...only to find the night-watchman unaware of his
presence in the building

Number 9, number 9, number 9, number 9, number 9
Number 9

Industry allows financial imbalance

Thrusting it between his shoulder blades

The Watusi, the twist

Eldorado

Take this, brother, may it serve you well

Maybe it's nothing
What? What? Oh...

Maybe, even then, impervious in London

...could be difficult thing...
It's quick like rush for peace is because it's so much
Like being naked

It's alright, it's alright
It's alright, it's alright

It's alright, it's alright
It's alright, it's alright
It's alright

If, you became naked

[size=24]Now it's time to say good night
Good night Sleep tight
Now the sun turns out his light
Good night Sleep tight
Dream sweet dreams for me
Dream sweet dreams for you.

Close your eyes and I'll close mine
Good night Sleep tight
Now the moon begins to shine
Good night Sleep tight
Dream sweet dreams for me
Dream sweet dreams for you.

Close your eyes and I'll close mine
Good night Sleep tight
Now the sun turns out his light
Good night Sleep tight
Dream sweet dreams for me
Dream sweet dreams for you.

Good night Good night Everybody
Everybody everywhere
Good night.[/size]

Cry baby cry
Make your mother sigh
She's old enough to know better.

The king of Marigold was in the kitchen
Cooking breakfast for the queen
The queen was in the parlour
Playing piano for the children of the king.

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry.

The king was in the garden
Picking flowers for a friend who came to play
The queen was in the playroom
Painting pictures for the childrens holiday.

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry.

The duchess of Kircaldy always smiling
And arriving late for tea
The duke was having problems
With a message at the local bird and bee.

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry.

At twelve o'clock a meeting round the table
For a seance in the dark
With voices out of nowhere
Put on specially by the children for a lark.

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry cry cry cry baby
Make your mother sigh.

She's old enough to know better
Cry baby cry
cry cry cry
Make your mother sigh
She's old enough to know better
So cry baby cry.

Creme tangerine and montelimat
A ginger sling with a pineapple heart
A coffee dessert--yes you know it's good news
But you'll have to have them all pulled out
After the Savoy truffle.

Cool cherry cream and a nice apple tart
I feel your taste all the time we're apart
Coconut fudge--really blows down those blues
But you'll have to have them all pulled out
After the Savoy truffle.

You might not feel it now
But when the pain cuts through
You're going to know and how
The sweat is going to fill your head
When it becomes too much
You're going to shout aloud
--Creme tangerine.

You know that what you eat you are,
But what is sweet now, turns so sour--
We all know Obla-Di-Bla-Da
But can you show me, where you are?..

Creme tangerine and montelimat
A ginger sling with a pineapple heart
A coffee dessert--yes you know its good news
But you'll have to have them all pulled out
After the Savoy truffle.

She was a working girl
North of England way
Now she's hit the big time
In the U.S.A.
And if she could only hear me
This is what I'd say.

Honey pie you are making me crazy
I'm in love but I'm lazy
So won't you please come home.

Oh honey pie my position is tragic
Come and show me the magic
of your Hollywood song.

You became a legend of the silver screen
And now the thought of meeting you
Makes me weak in the knee.

Oh honey pie you are driving me frantic
Sail across the Atlantic
To be where you belong.

Will the wind that blew her boat
Across the sea
Kindly send her sailing back to me.

Honey pie you are making me crazy
I'm in love but I'm lazy
So won't you please come home.

[size=24]It's been a long long long time,
How could I ever have lost you
When I loved you.

It took a long long long time
Now I'm so happy I found you
How I love you

So many tears I was searching,
So many tears I was wasting, oh. Oh--

Now I can see you, be you
How can I ever misplace you
How I want you
Oh I love you
Your know that I need you.
Ooh I love you.[/size]

When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again.

Do you, don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me tell me come on tell me the answer
You may be a lover but you ain't no dancer.

Helter skelter helter skelter
Helter skelter.

Will you, won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer.

Look out helter skelter helter skelter
Helter skelter

Look out, cause here she comes.

When I get to the bottom I go back to the top of the slide
And I stop and I turn and I go for a ride
And I get to the bottom and I see you again

Well do you, don't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer.

Look out helter skelter helter skelter
Helter skelter
Look out helter skelter
She's coming down fast
Yes she is
Yes she is.
I got blisters on my fingers...

Sexy Sadie what have you done
You made a fool of everyone
You made a fool of everyone
Sexy Sadie ooh what have you done.

Sexy Sadie you broke the rules
You layed it down for all to see
You layed it down for all to see
Sexy Sadie oooh you broke the rules.

One sunny day the world was waiting for a lover
She came along to turn on everyone
Sexy Sadie the greatest of them all.

Sexy Sadie how did you know
The world was waiting just for you
The world was waiting just for you
Sexy Sadie oooh how did you know.

Sexy Sadie you'll get yours yet
However big you think you are
However big you think you are
Sexy Sadie oooh you'll get yours yet.

We gave her everything we owned just to sit at her table
Just a smile would lighten everything
Sexy Sadie she's the latest and the greatest of them all.

She made a fool of everyone
Sexy Sadie.

However big you think you are
Sexy Sadie.

Come on come on come on come on
Come on is such a joy
Come on is such a joy
Come on take it easy
Come on take it easy
Take it easy take it easy
Everybody's got something to hide except for me and
my monkey.

The deeper you go the higher you fly
The higher you fly the deeper you go
So come on come on
Come on is such a joy
Come on is such a joy
Come on make it easy
Come on make it easy.

Take it easy take it easy
Everybody's got something to hide except for me and
my monkey.

Your inside is out and your outside is in
Your outside is in and your inside is out
So come on come on
Come on is such a joy
Come on is such a joy
Come on make it easy
Come on make it easy
Make it easy make it easy
Everybody's got something to hide except for me and
my monkey.

Yes I'm lonely wanna die
Yes I'm lonely wanna die
If I ain't dead already
Ooh girl you know the reason why.

In the morning wanna die
In the evening wanna die
If I ain't dead already
Ooh girl you know the reason why.

My mother was of the sky
My father was of the earth
But I am of the universe
And you know what it's worth
I'm lonely wanna die
If I ain't dead already
Ooh girl you know the reason why.

The eagle picks my eye
The worm he licks my bone
I feel so suicidal
Just like Dylan's Mr. Jones
Lonely wanna die
If I ain't dead already
Ooh girl you know the reason why.

Black cloud crossed my mind
Blue mist round my soul
Feel so suicidal
Even hate my rock and roll
Wanna die yeah wanna die
If I ain't dead already
Ooh girl you know the reason why.

You say it's your birthday
It's my birthday too--yeah
They say it's your birthday
We're gonna have a good time
I'm glad it's your birthday
Happy birthday to you.

Yes we're going to a party party
Yes we're going to a party party
Yes we're going to a party party.

I would like you to dance--Birthday
Take a cha-cha-cha-chance-Birthday
I would like you to dance--Birthday
Dance

You say it's your birthday
Well it's my birthday too--yeah
You say it's your birthday
We're gonna have a good time
I'm glad it's your birthday
Happy birthday to you.

Half of what I say is meaningless
But I say it just to reach you, Julia

Julia, Julia, oceanchild, calls me
So I sing a song of love, Julia
Julia, seashell eyes, windy smile, calls me
So I sing a song of love, Julia

Her hair of floating sky is shimmering, glimmering,
In the sun

Julia, Julia, morning moon, touch me
So I sing a song of love, Julia

When I cannot sing my heart
I can only speak my mind, Julia

Julia, sleeping sand, silent cloud, touch me
So I sing a song of love, Julia
Hum hum hum hum...calls me
So I sing a song of love for Julia, Julia, Julia

Who knows how long I've loved you
You know I love you still
Will I wait a lonely lifetime
If you want me to--I will.

For if I ever saw you
I didn't catch your name
But it never really mattered
I will always feel the same.

Love you forever and forever
Love you with all my heart
Love you whenever we're together
Love you when we're apart.

And when at last I find you
Your song will fill the air
Sing it loud so I can hear you
Make it easy to be near you
For the things you do endear you to me
You know I will
I will.

[size=24][b]Why don't we do it in the road?
No one will be watching us
Why don't we do it in the road?[/b][/size]

[b]I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive
Waiting for your knock dear
On my old front door
I don't hear it
Does it mean you don't love me any more.

I hear the clock a'ticking
On the mantel shelf
See the hands a'moving
But I'm by myself
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more.

Don't pass me by don't make me cry don't make me blue
'Cause you know darling I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by don't make me cry

I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair
You said you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you.[/b]

Now somewhere in the black mountain hills of Dakota
There lived a young boy named Rocky Raccoon
And one day his woman ran off with another guy
Hit young Rocky in the eye Rocky didn't like that
He said I'm gonna get that boy
So one day he walked into town
Booked himself a room in the local saloon.

Rocky Raccoon checked into his room
Only to find Gideon's bible
Rocky had come equipped with a gun
To shoot off the legs of his rival
His rival it seems had broken his dreams
By stealing the girl of his fancy.
Her name was Magil and she called herself Lil
But everyone knew her as Nancy.
Now she and her man who called himself Dan
Were in the next room at the hoe down
Rocky burst in and grinning a grin
He said Danny boy this is a showdown
But Daniel was hot-he drew first and shot
And Rocky collapsed in the corner.

Now the doctor came in stinking of gin
And proceeded to lie on the table
He said Rocky you met your match
And Rocky said, Doc it's only a scratch
And I'll be better I'll be better doc as soon as I am able.

Only to find Gideon's bible
Gideon checked out and he left it no doubt
To help with good Rocky's revival.

[size=18]Have you seen the little piggies
Crawling in the dirt
And for all the little piggies
Life is getting worse
Always having dirt to play around in.

Have you seen the bigger piggies
In their starched white shirts
You will find the bigger piggies
Stirring up the dirt
Always have clean shirts to play around in.

In their styes with all their backing
They don't care what goes on around
In their eyes there's something lacking
What they need's a damn good whacking.

Everywhere there's lots of piggies
Living piggy lives
You can see them out for dinner
With their piggy wives
Clutching forks and knives to eat their bacon.[/size]

[size=18]Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise.

Blackbird singing in the dead of night
Take these sunken eyes and learn to see
All your life
You were only waiting for this moment to be free.

Blackbird fly Blackbird fly
Into the light of the dark black night.

Blackbird fly Blackbird fly
Into the light of the dark black night.

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
You were only waiting for this moment to arise
You were only waiting for this moment to arise.[/size]

I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink
No,no,no.

I'm so tired I don't know what to do
I'm so tired my mind is set on you
I wonder should I call you but I know what you'd do

You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind

I'm so tired, I'm feeling so upset
Although I'm so tired I'll have another cigarette
And curse Sir Walter Raleigh
He was such a stupid get.

Martha my dear though I spend my days in conversation
Please
Remember me Martha my love
Don't forget me Martha my dear

Hold your head up you silly girl look what you've done
When you find yourself in the thick of it
Help yourself to a bit of what is all around you
Silly Girl.

Take a good look around you
Take a good look you're bound to see
That you and me were meant to be for each other
Silly girl.

Hold your hand out you silly girl see what you've done
When you find yourself in the thick of it
Help yourself to a bit of what is all around you
Silly girl.

Martha my dear you have always been my inspiration
Please
Be good to me Martha my love
Don't forget me Martha my dear.

[size=18][/size]

[size=18][/size]She's not a girl who misses much
Do do do do do do do do
She's well acquainted with the touch of the velvet hand
Like a lizard on a window pane.

The man in the crowd with the multicoloured mirrors
On his hobnail boots
Lying with his eyes while his hands are busy
Working overtime
A soap impression of his wife which he ate
And donated to the Nation Trust.

I need a fix 'cause I'm going down
Down to the bits that I left uptown
I need a fix cause I'm going down
Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun.

Happiness is a warm gun
Happiness is a warm gun
When I hold you in my arms
And I feel my finger on your trigger
I know no one can do me no harm
Because happiness is a warm gun
-Yes it is.

[size=24] look at you all see the love there that's sleeping
While my guitar gently weeps
I look at the floor and I see it needs sweeping
Still my guitar gently weeps
I don't know why nobody told you how to unfold your love
I don't know how someone controlled you
They bought and sold you.

I look at the world and I notice it's turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps
I don't know how you were diverted
You were perverted too
I don't know how you were inverted
No one alerted you.

I look at you all see the love there that's sleeping
While my guitar gently weeps
Look at you all...
Still my guitar gently weeps.[/size]

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

He went out tiger hunting with his elephant and gun
In case of accidents he always took his mom
He's the all American bullet-headed saxon mother's son.
All the children sing

Hey Bungalow Bill
What did you kill
Bungalow Bill?

Deep in the jungle where the mighty tiger lies
Bill and his elephants were taken by surprise
So Captain Marvel zapped in right between the eyes
All the children sing

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

The children asked him if to kill was not a sin
Not when he looked so fierce, his mother butted in
If looks could kill it would have been us instead of him
All the children sing

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

fimlogragy

                                         
                                                2

 Help!
The second Beatles’ feature film is a comedy adventure, which follows the exploits of the group as they attempt to escape the clutches of an evil mysterious cult. Will The Beatles survive being eaten by tigers, being shrunk, gassed, blown up, or kidnapped?

The film was directed by Dick Lester and combines the Beatles’ own sense of humour with antics from a leading cast of actors including Leo McKern, Eleanor Bron, Victor Spinetti and Roy Kinnear.

The film includes a host of classic tracks such as Ticket To Ride, You’re Going To Lose That Girl, and the title track, Help! (These are all featured on the soundtrack album).

Help! has been regarded by many as a parody of contemporary Bond films, complete with power crazy despots, mad inventors, and a caper through exotic locations including the Bahamas and the snowy mountains of Austria. It has also been credited as being the forerunner to contemporary rock musicals and pop videos.

Images
Ringo's evil jewellery / John on the beach / Filming the cage capture scene / George relaxing on set / Singing 'Another Girl' on the rocky shore / Convincing disguises / Film artwork / Learning to ski

Cast
John Lennon:John / Paul McCartney: Paul / George Harrison: George / Ringo Starr: Ringo / Clang: Leo McKern / Ahme: Eleanor Bron / Foot: Victor Spinetti / Algernon: Roy Kinnear / Superintendant: Patrick Cargill / Bhuta: John Bluthal / Doorman (Restaurant): Alfie Bass / Abdul: Warren Mitchell / Jeweller: Peter Copley / Lawn Mower: Bruce Lacey

Credits
Credits: Producer: Walter Shenson / Director: Richard Lester / Screenplay: Marc Behm and Charles Wood / Lighting Cameraman: David Watkin / Art Director: Ray Simm / Colour Consultant and Titles: Robert Freeman / Editor: John Victor Smith / Musical Director: Ken Thorne / Costume Designer: Julie Harris / Make-up: Freddie Williamson / Hairdresser: Betty Glasow / Production Manager: John Pellatt / Assistant Director: Clive Reed / A Walter Shenson-Subafilms Production. / Released by United Artists.
 
 
                                                      3


Magical Mystery Tour
Away in the sky, beyond the clouds, live 4 or 5 Magicians. By casting wonderful spells they turn the Most Ordinary Coach Trip into a Magical Mystery Tour. If you let yourself go, the Magicians will take you away to marvellous places. Maybe you’ve been on a Magical Mystery Tour without even realising it. Are you ready to go?
Splendid!

The Beatles produced this film around a coach journey across England. It features a series of musical vignettes, interspersed with scenes of comedy and fantasy. Includes tracks such as Magical Mystery Tour, The Fool On the Hill, Your Mother Should Know, and I Am The Walrus.

Images
a better view / Contemplation / George directing the cameras / John and Paul on the bus / John during filming / Paul talks to the driver / We Are the Eggmen / George on set / John sings I Am The Walrus / Ringo takes a closer look

Cast
George Claydon: Little George The Photographer / Jessie Robbins: Ringo's Auntie / Ivor Cutler: Mr Buster Bloodvessel / Derek Royle: Jolly Jimmy Johnson The Courier / Shirley Evans: The Accordianist / Victor Spinetti: The Recruiting Sergeant / Nat Jackley: Rubber Man / Mandy Weet: Miss Wendy Winters The Hostess / Nichola: as The Little Girl / Maggie Wright: The Lovely Starlet / Jan Carson: The Stripper / Alf Manders: Coach driver / Bonzo Dog Doo Dah Band: As themselves

Crew
Aubrey Dewar: Camera / Tony Busbridge: Camera / Daniel Lacamore: Camera / Mike Sarason: Camera / Michael Lax: Sound / Roy Benson: Editor / Roger Graham: Design / Keith Liddiard: Design / Andrew Birkin: First Assistant / Denis O'Dell: Production / Gavrik Losey: Assistant Producer / Gordon Daniel: Sound Editor / Richard Starkey M.B.E.: Director of Photography
 
 
                                                   4


Yellow Submarine
Once upon a time…or maybe twice, there was an unearthly paradise called Pepperland – a place where happiness and music reigned supreme. But all that was threatened when the terrible Blue Meanies declared war and sent in their army led by a menacing Flying Glove to destroy all that was good. Enter John, Paul, George and Ringo to save the day! Armed with little more than their humour, songs, and of course, their yellow submarine, the Fab Four tackle the rough seas ahead in an effort to bring down the evil forces of bluedom.

When their spectacular feature, Yellow Submarine, debuted in 1968, it was instantly recognisable as a landmark film. By merging the visual splendour of animation with a fantasy – adventure tale filled with peace, love, hope and of course, music, Yellow Submarine captured the essence of the Sixties. And by integrating the freestyle approach of the era with innovative animation techniques, it revolutionised a genre.

“The music, let’s face it, was the inspiration for the whole film,” said Yellow Submarine line producer John Coates. Directed by George Dunning, and written by Lee Minoff, Al Brodax, Jack Medelsohn and Erich Segal, Yellow Submarine began its voyage to the screen when Brodax, who had previously produced nearly 40 episodes of ABC’s animated Beatles TV series, approached Beatles’ manager Brian Epstein, with a unique vision for a full-length animated feature.

Inspired by the generations’s new trends in art, Yellow Submarine sits aloingside the dazzling Pop Art styles of Andy Warhol, Martin Sharp, Alan Aldridge and Peter Blake

After seeing just four of German poster artist Heinz Edelmann’s incredible drawings, they knew he was the right man for the job.

“I thought from the very beginning that the film should be a series of interconnected shorts” remembers Edelmann. “The style should vary every five minutes or so to keep the interest going until the end”. These styles included melding love-action photography with animation, 3 dimensional sequences and kaleidoscopic “rotoscoping” where film is traced frame by frame into drawings.

The entire process took nearly two years, some 14 different scripts, 40 animators and 140 technical artists, but achieved its aims in producing a ground breaking piece of animation.

This visual feast is combined with a brilliant soundtrack of Beatles’ music including “Eleanor Rigby”, “When I’m 64”, “Lucy in the Sky With Diamonds” and “All You Need Is Love” creating a masterpiece that can be enjoyed by all.

Images
The Yellow Sub / the Sea of Monsters / The Chief Blue Meanie / Under the sea / The Beatles in Yellow Submarine / Sea of Whales / Sea of Holes / Pepperland / Victory in Pepperland / Love is all you need

Product information
Currently available in DVD and VHS formats.
Duration: 1 hour 30 mins (approx)
DVD 5.1 sound
Rating: U / G
4:3 format
PAL / NTSC
Multilanguage
Subtitles
Special features include: The making-of documentary “The Mod Odyssey”, original storyboards and pencil drawings, behind-the-scenes photos, and interviews with the original production team.

Cast
John: John Clive / Paul: Geoffrey Hughes / George: Peter Batten / Ringo / Chief Blue Meanie: Paul Angelis / Lord Mayor / Nowhere Man / Max: Dick Emery

Credits
Producer: Al Brodax / Associate Producer: Mary Ellen Stewart / Director: George Dunning / Musical Director: George Martin / Original Story by: Lee Minoff / Screenplay: Lee Minoff, Al Brodax, Jack Mendelsohn and Erich Segal. / Production Supervisor: John Coates / Design: Heinz Edelmann / Animation Directors: Jack Stokes and Robert Balser / Cinematography: John Williams / Editor: Brian J. Bishop / Dubbing Editor: Donald Cohen, Ken Potts / Dubbing Mixer: Hugh Sturn / Sound Effects: Doug Smith / Special effects animator: Chris Canntor / Special sequences: Charles Jenkins / Production Coordinator: Abe Goodman / Design: John Cramer, Dick Sawyer / Sound: Donald Cohen, Ken Rolls / Additional sequence director: Edrich Radage / Live action Sequence Director: Dennis Abey / Administration: Peter Franklin / Assistant: Norman Kauffman / Production Assistant: Sally Hyman / Assistant Editor: Toquil Stewart / Background supervisors: Alison de Vere, Millicent Macmillan / Camera Operators: John Williams, Richard Woody, Bev Roberts, Graham Orn, Bev Nevile, Alan Foster, Malcolm Levesey, Ian Letts, Tony Hines / Animators: Alan Ball, Reg Lodge, Tom Halley, Dave Livesey, Duane Crowther, Rich Cox, Cam Ford, Mike Pocock, Geoff Loynes, Mike Stewart, Malcolm Draper, Ted Percival, Lawrence Moorcroft, Dennis Hunt, Chris Carter (Special Effects), Arthur Humberstone, Anne Joliffe, Tony Cuthbert, Paul Driessen, Hester Coblentz, Dick Herne, John Chalin, Duane Jackson, Geoff Collins, Gary Potterton. / Animation Cleanup: Ted Lewis (Supervisor), Christopher Miles, Ian Cowan, Richard Dakin, Ray Newman / Trace and Paint Supervisors: Helen Jones, Corona Maher, Janet Hosie, Margaret Geddes, Jenny Brisbane, Susan Brown, Susan Gibbons / Layout Artists: Gordon Harrison, Ray August, Peter Arthy, Jack Daniels, Alan Grey, Ted Pettragel, Gail Potter / Background Artists: Arthur Button, Cecil Green, David Elvin, Muriel Jennings, Martina Selway, Malcolm Dakin, Clare Greenford, Jenny Aldridge, Paul Francis, Ian Gordon / An Apple Film / A King Features Production
 
 
                                                         5

Desmond has a barrow in the market place
Molly is the singer in a band
Desmond says to Molly-girl I like your face

Obladi oblada life goes on bra
Lala how the life goes on
Obladi Oblada life goes on bra
Lala how the life goes on.

Desmond takes a trolly to the jewellers store
Buys a twenty carat golden ring
Takes it back to Molly waiting at the door
And as he gives it to her she begins to sing.

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones.

Happy ever after in the market place
Molly lets the children lend a hand
Desmond stays at home and does his pretty face
And in the evening she's a singer with the band.

[size=18]I told you about strawberry fields
You know the place where nothing is real
Well here's another place you can go
Where everything flows.
Looking through the bent backed tulips
To see how the other half live
Looking through a glass onion.
I told you about the walrus and me-man
You know that we're as close as can be-man
Well here's another clue for you all
The walrus was Paul.
Standing on the cast iron shore-yeah
Lady Madonna trying to make ends meet-yeah
Looking through a glass onion.

I told you about the fool on the hill
I tell you man he living there still
Well here's another place you can be
Listen to me.
Fixing a hole in the ocean
Trying to make a dove-tail joint-yeah
Looking through a glass onion.[/size]

[size=24]Honey Pie,
Honey Pie,
I love you, Honey Pie[/size]

Dear Prudence, won't you come out to play
Dear Prudence, greet the brand new day
The sun is up, the sky is blue
It's beautiful and so are you
Dear Prudence won't you come out and play

Dear Prudence open up your eyes
Dear Prudence see the sunny skies
The wind is low the birds will sing
that you are part of everything
Dear Prudence won't you open up your eyes?

Look around round
Look around round round
Look around

Dear Prudence let me see you smile
Dear Prudence like a little child
The clouds will be a daisy chain
So let me see you smile again
Dear Prudence won't you let me see you smile?

Flew in from Miami Beach BOAC
Didn't get to bed last night
On the way the paper bag was on my knee
Man I had a dreadful flight
I'm back in the U.S.S.R.
You don't know how lucky you are boy
Back in the U.S.S.R.

Been away so long I hardly knew the place
Gee it's good to be back home
Leave it till tomorrow to unpack my case
Honey disconnect the phone
I'm back in the U.S.S.R.
You don't know how lucky you are boy
Back in the U.S.S.R.

Well the Ukraine girls really knock me out
They leave the West behind
And Moscow girls make me sing and shout
That Georgia's always on my mind.

I'm back in the U.S.S.R.
You don't know how lucky you are boys
Back in the U.S.S.R.

Show me round your snow peaked mountains way down south
Take me to your daddy's farm
Let me hear your balalaika's ringing out
Come and keep your comrade warm.
I'm back in the U.S.S.R.
You don't know how lucky you are boys
Back in the U.S.S.R.

από το περιδικο From 2004The New Rolling Stone Album Guide , βιογραφια και δισκογραφια :

John had the vision, Paul had the heart, George had the spirit, and Ringo had two fried eggs on toast, please. Together, they were the Beatles, four working-class Liverpool boys who came out of nowhere to conquer the world with the greatest songs ever heard. In case you're from Mars, John Lennon (the Smart One) and Paul McCartney (the Cute One) wrote the tunes. George Harrison (the Quiet One) played lead guitar. Ringo Starr (the Drummer) played drums. They all sang. They invented the idea of the self-contained rock band, writing their own hits and playing their own instruments. They invented the idea that the world's biggest pop group could grow up into arty, innovative musicians. For that matter, they invented the idea that there was any such thing as the world's biggest pop group. They also invented drugs, beards, bed-ins, India, concept albums, round glasses, the Queen, breaking up, and vegetarians.

The Beatles left behind more great music than anybody can process in a lifetime. Sheer abundance is part of their story: Life with the Beatles means vaguely disliking a chestnut like "Nowhere Man" or "Blackbird" for years until it sneaks up and gets into your blood for good. Just check out "I Want to Hold Your Hand," which explodes out of the speakers with the most passionate singing, drumming, lyrics, guitars, and girl-crazy howls ever -- it's no insult to the Beatles to say they never topped this song because nobody else has either, although the lads came pretty close themselves with "You're Going to Lose That Girl." It's the most joyous three minutes in the history of human noise.

The Beatles were already bar-band veterans when they released their 1962 debut single, "Love Me Do," toughened by speed-fueled all-nighters in the sleazy clubs of Hamburg. They banged out Please Please Me in one marathon 10-hour session with producer George Martin on February 11, 1963. It's a blueprint of everything the Beatles would ever do, mixing up doo-wop, country, R&B, girl groups, Chuck Berry, Buddy Holly, Little Richard, and Tin Pan Alley into their own exuberant sound. John and Paul sang the openhearted originals "Ask Me Why," "There's a Place," and "I Saw Her Standing There." Ringo shouted, "All right, George!" in his gender-flipped cover of the Shirelles' ultrafemme "Boys." All four Beatles sang and played with total emotional urgency, holding nothing back, knowing their first shot at getting out of Liverpool could have been their last. You can hear John completely blow out his voice in the last track, "Twist and Shout."

On With the Beatles, the mop-tops stepped out with a bunch of great Motown tributes: "Please Mister Postman," "You Really Got a Hold on Me," and the window-rattler "Money (That's What I Want)." They also shone with the originals "It Won't Be Long" and "All My Loving," George's "Don't Bother Me," and the Ringo showcase, "I Wanna Be Your Man." Unfortunately, there's also some real crapola here, such as "Little Child" and "Devil in Her Heart." The old show tune "Till There Was You" would rank as the Beatles' all-time ghastliest moment -- if not for the horrifying "Hold Me Tight" ( "It's you!/You, you, you!") which happens to be an original.

The full-length originals didn't come out in America until 1987. Today, the out-of-print U.S. versions don't even have nostalgia value, except maybe Meet the Beatles. The U.S. Rubber Soul adds acoustic tunes from Help! for an interesting album more conceptually unified than the U.K. original -- although shorter, and not as good.

A Hard Day's Night, the soundtrack from the Bea-tles' superb debut film ( "Don't touch Ringo's drums -- they loom large in his legend"), was also the first album comprised entirely of Lennon-McCartney originals. Although they were now the four most famous people in the world, the toppermost of the poppermost, bigger than Elvis, bigger than Jesus, they were still holding nothing back emotionally or musically: Just listen to "If I Fell" or "You Can't Do That."

The strain of Beatlemania shows in Beatles for Sale, as the lads unload some of the ickiest covers from their bar-band days. But they keep growing with "What You're Doing" and "I'm a Loser." The harmonies of "Baby's in Black," the hair-raising "I still loooove her" climax of "I Don't Want to Spoil the Party," the eager hand claps in "Eight Days a Week" -- it all makes "Mr. Moonlight" easy to forgive.

Help! was a big step forward, exploring doubt, loneliness, alienation, adult sexual longing, acous-tic guitars, electric piano, bongos, castanets, and the finest George songs known to man. The Cute One suddenly proved he was also the Smart One, the Smart One proved he could sound cuter than the Cute One, the Quiet One got Smart as well as Cute, and "Act Naturally" proved how much they all loved Ringo. Help! was utterly ruined in its U.S. version, which cut half the songs and added worthless orchestral soundtrack filler, so it's always been underrated. But Help! is the first chapter in the astounding creative takeoff the Beatles were just beginning: the soulful bereavement of "Ticket to Ride," the impossibly erotic gentleness of "Tell Me What You See," the desperate falsetto and electric punch of "You're Going to Lose That Girl."

On Rubber Soul, the Beatles grew up with an album of bittersweet romance, singing adult love ballads that feel worldly but not jaded. "Drive My Car" was a brash pop-life satire featuring Ringo's hottest drumming, while "Girl" upped the folk-rock ante on Bob Dylan. "Norwegian Wood" wove sitar and acoustic guitar together as John cryptically sang about an affair so his wife wouldn't guess what the song was about. (The rest of us can get confused as well -- does he light up a joint at the end or burn the girl's house down?) John and Paul both took off as singers: "Nowhere Man" might be slight as social commentary but it's heartbreaking as music, while "I'm Looking Through You" and "Wait" bare the vulnerable emotion in Paul's vocals. "In My Life" was one of the last Lennon-McCartney songs that the pair actually wrote together, and it could well be a loving farewell to each other before the friendship turned sour.

For Revolver, the Fabs tuned in to Dylan, the Stones, the Beach Boys, the Byrds, and decided to top them all. They also decided to make Ringo sing the one about the yellow submarine. On top of the world, at the peak of their powers, competing with one another because nobody else could touch them, the Beatles breezed through acid rock ("She Said She Said"), chamber music ("For No One"), raga ("Love You To"), R&B ("Got to Get You Into My Life"), and everything in between with superhuman confidence. It contains their prettiest music ("Here, There, and Everywhere"), their bitchiest ("And Your Bird Can Sing"), their friendliest ("I Want to Tell You"), and their scariest (the screaming-seagull acid-nightmare "Tomorrow Never Knows"). John's songs are the best, but Paul gets in the funniest line: "If I am true I'll never leave,/and if I do I know the way there."

Revolver got butchered particularly badly in its U.S. release, which only gave John three songs, the same number as George. Incredibly, Americans didn't get to hear the uncut Revolver until the CD came out in 1987. Ever since Revolver has steadily climbed in public estimation. These days, Revolver has earned its reputation as the best album the Beatles ever made, which means the best album by anybody.

Sgt. Pepper's Lonely Hearts Club Band, the psychedelic soundtrack of the Summer of Love, was the first Beatles album released in its original uncut version in America, where fans hadn't even heard the full Revolver yet. So it was a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two. It's a masterwork of sonics, not songwriting -- the words and melodies are a lot more rickety than on the previous three albums. But with Paul overdubbing every instrument under the sun and George Martin fixing the holes, Sgt. Pepper still sparkles, especially the jangly "Getting Better," the half-past-dead "A Day in the Life," and Ringo's greatest hit, "With a Little Help from My Friends."

Sgt. Pepper marked a turning point: No longer playing live, increasingly dimmed by drugs, the Beatles were drifting apart. They collaborated less and worked solo, isolating John's caustic rock edge, Paul's light pop whimsy, and George's sere spiritualism. Magical Mystery Tour was a lot goopier than Sgt. Pepper, though lifted by the cheerful "All You Need Is Love" and the ghostly "Strawberry Fields Forever." Her Majesty the Queen had the best comment: "The Beatles are turning awfully funny, aren't they?" By now, the Beatles didn't need to push -- they could have hit #1 with a tape of themselves blowing their noses, which would have been catchier than "Hello Goodbye" or "Lady Madonna." Yellow Submarine was a flat soundtrack rather than a real album, but here's a question: Why is George's "It's All Too Much" not heralded as one of the top five all-time psychedelic freakouts in rock history?

The Beatles wrote most of the White Album on acoustic guitars while on retreat in Rishikesh, India, a place where they had no drug connections, which probably explains why they came up with their sturdiest tunes since Revolver. As John recalled, "We sat in the mountains eating lousy vegetarian food and writing all these songs." Even Ringo: a big hand, please, for the man who wrote "Don't Pass Me By." The double-disc White Album, officially entitled The Beatles, has loads of self-indulgent filler -- even the justly maligned "Revolution #9" is more fun than "Honey Pie" or "Yer Blues." Before CDs, most people just made a 45-minute tape of highlights for actual listening; now you can program "Sexy Sadie" and "Long, Long, Long" without having to lift the needle to skip over "Helter Skelter." But nobody would pick the same highlights, which is part of the fun, and besides, if the Beatles had edited it down to one disc, "Rocky Raccoon" would have been the first to go, which would have been tragic. "Martha My Dear," "Blackbird," "Dear Prudence," "Julia," "Cry, Baby, Cry," "Savoy Truffle," and "Happiness Is a Warm Gun" are all among the Beatles' finest songs, even if nobody will ever understand how they talked George Martin into permitting that godawful bass feedback at the end of the otherwise perfect "Julia."

As a strange footnote, the White Album acquired permanent notoriety during Charles Manson's 1969 trial, when an L.A. district attorney floated the theory that the album had inspired an alleged hippie murder cult. Silly stuff, but the accusation stuck, even though there's never been any evidence behind it; as Charlie himself admitted, he was more of a Bing Crosby man. Oh, well -- "Helter Skelter" still sucks anyway.

Despite its solo vocals, the White Album was the last Beatles album to evoke the old team spirit. Let It Be, the ill-fated documentary soundtrack, wasn't even released until 1970. The singing, playing, and writing are weak, despite the White Album-style gems "Dig A Pony" and "Two of Us." "The Long and Winding Road" is actually a not-terrible tune under Phil Spector's orchestral dreck (just listen to Aretha Franklin sing it on Young, Gifted, and Black). Fortunately, the band decided not to go out like that, and reconvened to make the farewell Abbey Road. Slick, polished to the point of easy listening, Abbey Road devotes side two to a Paul-dominated "pop symphony," as George's "Here Comes the Sun" gives way to a medley of inspired tunelets such as "Golden Slumbers," "Sun King," and "The End." The spottier side one has John's "I Want You (She's So Heavy)," his de facto sequel to "I Want to Hold Your Hand," and Ringo's kiddie fave "Octopus's Garden," which makes "Yellow Submarine" sound like "The Wreck of the Edmund Fitzgerald." Good night, everybody. Everybody, everywhere. Good night.

Beatles reissues are a story in themselves. Over the years, Capitol has cranked out Beatles anthologies from every conceivable angle -- Love Songs, Reel Music, Rock & Roll Music, Rarities, and so on. Hardly any of them have been rip-offs, however; Elvis Presley should be so lucky as to have his legacy preserved with this much care. The Beatles 1962-1966 and 1967-1970, the "Red" and "Blue" albums, became the canonical sets in the '70s, and they still sound great, although they're overpriced, each spreading a single CD's worth of great music over two discs -- and nobody has ever explained what the hell "Old Brown Shoe" is doing on the Blue Album. Hollywood Bowl is a loving tribute to the screaming girl fans who drown out the band in these 1964Ð65 shows; those girls were heroes on the rock & roll frontier, and they deserve to be the lead instrument on a Beatles album of their own. Live at the Star Club is a dull live set from the tail end of the group's early Hamburg days, right about the time the Beatles were making it at home and going through the motions in Hamburg. Past Masters collects their singles on two CDs, including essential nonalbum cuts such as "She Loves You," "Hey Jude," "Yes It Is," and "Rain." The 1977 Love Songs had a nice cover.

The long-bootlegged Live at the BBC has excellent radio performances of the lads chattering, nattering, cracking one another up, dedicating songs to their aunties out there in radio land, and playing many otherwise unrecorded covers, as well as the great original "I'll Be On My Way." The all-outtakes Anthology sets are too much of a good thing, good for only a couple of listens apiece, although Anthology 3 has "Junk," a sweet acoustic White Album ballad Paul revived on his solo debut. The three surviving Beatles reunited in 1995 to touch up the John outtake "Free as a Bird," which in retrospect wasn't a bad song at all, although the very idea was dead grotty. The song peaked at #2 in the U.K. and therefore missed inclusion on 1, the budget-priced collection of #1 hits that shocked the music business by selling zillions of copies, even though everybody on earth already has all the songs. In fact, the Beatles were the top-selling act of 2001. "Free as a Bird," no doubt, will appear on the inevitable sequel 2, which will also have "Please Please Me" and "Strawberry Fields Forever"; also brace yourself for the Beatles' H, so everybody can buy new copies of "Help!," "Hello Goodbye," "Hey Bulldog," and "Her Majesty."The Paul-supervised Let It Be . . . Naked remix isn't worth the trouble.

The Four Historic Ed Sullivan Shows Featuring the Beatles came out on DVD in 2003 with no fanfare and a clumsy title, but it's essential. You get 20 1964Ð1965 Beatles performances, including three versions of "I Want to Hold Your Hand," but the real revelation is how badly the rest of the show sucked. Mitzi Gaynor singing show tunes? Mr. Acker Bilk doing a clar-inet solo called "Acker's Lacquer"? Magic from the Great Fantasio, acrobats, card tricks, and a host who resembles a suburban funeral director with a mouth-ful of Vicodin? So this is what people did for fun before the Beatles came along? No wonder America freaked out. (ROB SHEFFIELD)

και για τους ρωσσομαθεις
αυτο το αρθρο εγραψε η Известия.

40 лет назад The Beatles покорили Америку
Олег КAРМИНСКИ
40 лет назад случилось чудо: четверка молодых людей из Ливерпуля приехала в Америку и - первой из британских групп - добилась там ошеломляющего успеха. Со знаменитых гастролей The Beatles в Штатах началась не только битломания как всеохватный мировой феномен, но, по сути, и весь шоу-бизнес в том виде, в каком мы его знаем: с Евровидением, индийским рэпом, MTV, гастролями Маккартни на Красной площади и "Тату" в Японии. Но масштабу охватившей тогда Америку истерии и по сей день нечего противопоставить.

Фото

К концу 1963 года Ринго, Пол, Джордж и Джон уже испытали на своей шкуре все прелести настоящей поп-славы: с преследующими их поклонницами, бесконечными пресс-конференциями, странными встречами и возможностью купить все, что только душе угодно. Вчерашние студенты без гроша в кармане, только-только вошедшие во вкус выступлений на больших площадках, они были вполне уверены в своем стабильном успехе в Британии, с любопытством наблюдали за растущим количеством фанатов в Германии, но на Америку поглядывали с опаской. До сих пор ни одна британская группа не добивалась сколько-нибудь серьезного успеха по ту сторону Атлантики, и обстоятельства, кажется, складывались вовсе не в их пользу: боссы американской звукозаписывающей индустрии в будущность квартета из Ливерпуля явно не верили. На шум, творящийся вокруг битлов в Британии, они посматривали как на локальное чудачество, которое скоро явно сойдет на нет. Джордж Мартин упорно посылал в американскую Capitol Records каждый из синглов, которые выпускала группа, - She Loves You, Please Please Me - и каждый раз получал решительный отказ: ему говорили, что такая музыка в Америке точно не пойдет. В результате все первые записи The Beatles вышли в Штатах на сравнительно маленьких независимых лейблах.

Удивительно, но первыми удалось заинтересовать не рекорд-лейблы, а Голливуд: The Beatles увлеклись идеей создания фильма с собой в главных ролях, и продюсер группы Брайан Эпстайн договорился о финансировании с компанией United Artists. Условия были простые: киношники тоже были абсолютно уверены, что через год о The Beatles никто и не вспомнит, собственно фильм их совершенно не интересовал, а интересовали лишь права на саундтрек, с помощью которых они рассчитывали немного подзаработать на этих однодневках, пока они окончательно не сгинули из хит-парадов. Соответственно бюджет им выделили крайне скудный - 180 тысяч фунтов, при том что съемки обычного полнометражного фильма в то время стоили не меньше полутора миллионов: один из продюсеров фильма позже подметил, что это был, вероятно, один из самых дешевых фильмов в истории кинематографа.

Снимали его тоже крайне быстро: съемки начались в мае 1964-го, а в августе он уже был в кинотеатрах. Ирония же заключалась в том, что между заключением контракта (в конце 1963-го) и началом съемок случился прорыв битлов в американские хит-парады и тот самый знаменитый тур. Саундтрек к фильму, получившему название "Вечер трудного дня", распродался гигантским тиражом, и оговоренные проценты, которые получили United Artists, моментально окупили все их затраты на производство - так что фильм им достался буквально даром и кормил их долгие десятилетия (благо желающих пересмотреть, как битлы бегут по улицам Лондона, а Ринго смущается длиной собственного носа, до сих пор находится немало).

Кроме всего прочего фильм проделал и серьезную маркетинговую работу: ведь до него The Beatles воспринимали как единое целое - сплоченную команду симпатичных парней со смешным акцентом, в одинаковых костюмчиках и с совершенно одинаковыми стрижками. В фильме же глазам приятно изумленных зрителей явились четыре совершенно равноправных героя: Обаяшка, Циник, Мудрец и Скромняга. Любить их можно было и всех вместе, и каждого в отдельности - так у каждого из битлов появились свои группки поклонниц, иногда враждующие между собой. Этот урок - довести до предела стереотипный образ каждого из участников и превратить его в маску - позже удачно скопировали продюсеры The Monkees, американского ответа The Beatles, окончательно утвердив шаблон, которым пользуются и до сих пор: по этому же совершенно обязательному принципу сегодня строятся все бойз-бэнды, и не только они: вспомните хотя бы Spice Girls.

Тем не менее известие о том, что песня "I Want to Hold Your Hand" заняла первое место в американском хит-параде, поразило битлов словно молния: об этом они и мечтать не могли. Победная телеграмма застала их в Париже, и Ринго позже вспоминал, что они принялись кричать и улюлюкать, "подражая техасцам", и закончили ночь на берегу Сены, уговаривая и в конечном счете уговорив своего приятеля Нила искупаться. Вскоре после этого Capitol Records, еще недавно совершенно равнодушная к музыке The Beatles и решительно утверждавшая, что эта музыка никогда не станет популярной в Америке - уж они-то свой рынок знают, - взялась вести их дела и даже потратила на их рекламу около 50 тысяч фунтов. К тому времени битлы успешно выступили в Швеции, неплохо во Франции, отыграли в Испании и Италии, но насчет Америки не обольщались. "Мы думали, что у нас нет никаких шансов, - признавался Леннон. - На успех мы даже не надеялись. Клифф [Ричард] отправился в Америку и был уничтожен. Но все произошло так неожиданно, что мы даже растерялись".

Растеряться было отчего. Отправляясь в запланированное загодя американское турне, битлы совершенно не ожидали, что им окажут такой восторженный прием. Они рассчитывали походить по магазинам, скупить пластинки кое-каких местных артистов, может быть, попасть в шоу Эда Салливана и в лучшем случае немного "раскачать американскую машину". Но, еще не приземлившись, они уже знали, что в аэропорту собралась гигантская толпа: пилот получил телефонограмму и передал важную новость в салон. Приглашение на шоу Салливана, главное телевизионное ток-шоу Америки, тоже уже было у них в кармане: чуть раньше Эд Салливан случайно оказался в шведском аэропорту одновременно с битлами, своими глазами наблюдал дикое количество рыдающих шведских поклонниц и немедленно пригласил группу к себе в эфир - при том что о битлах он прежде не слышал ни разу. Зато после эфира о них узнала вся Америка: совокупная аудитория шоу составила около 73 миллионов человек - рекорд, который, как считается, с тех пор никем не побит. The Beatles повсюду сопровождали толпы фанатов: это была та самая, теперь уже всемирная "битломания", которую мы все знаем по многочисленным фотографиям и документальным съемкам. Безумие было полнейшим: наиболее показательна история о том, как на приеме в британском посольстве Ринго кто-то отрезал прядь волос.

The Beatles провели свои американские каникулы довольно бурно: взахлеб слушали тамошнее радио, знакомились с Дайаной Росс и Мохаммедом Али, выступали в Карнеги-холле и на боксерском ринге в Вашингтоне, а также довольно комично отдохнули в Майами на виллах каких-то мафиози, причем Ринго умудрился, катаясь на катере, врезаться прямо в причал. Больше всего в Америке понравилось Джону - настолько, что после распада группы он даже туда переселился. Более шумных и утомительных гастролей у The Beatles еще не было. Вскоре они безумно устанут от переездов и того, что Леннон называл "машина, отель, отель, машина", окончательно откажутся гастролировать и посвятят все свое свободное время работе в студии.

О том, какие безумства творились на улицах, когда они разъезжали по миру, теперь можно узнать лишь из снятых ими фильмов, а также из документальной ленты "Первый визит The Beatles в США", юбилейное переиздание которой вышло на этой неделе: зрители Нью-Йорка, Лос-Анджелеса и Лондона увидят ее в кинотеатрах, все остальные смогут купить DVD. Из-за юридических неурядиц и проблем с правами фильм в свое время так и не был показан: 70-минутную картину в 1994-м выкупила и заново перемонтировала компания Apple Corps. И хотя режиссер Альберт Мэйлс утверждает, что изначальный вариант был лучше, даже в таком виде эта документальная лента, которую еще и дополнили неизвестными прежде материалами, по-прежнему служит важным и нужным свидетельством рождения того миропорядка, в котором мы все сейчас имеем счастье жить.

***

К середине 1964 года успех в Америке и отличные продажи альбомов сделали каждого из битлов настоящим миллионером. Перед американским турне Джон Леннон купил особняк в Сюррее и, по просьбе журналиста Рэя Колемана, составил опись самых дорогих, во всех смыслах, вещей, которые в нем содержатся. Этот ценный документ, впервые опубликованный в посмертной биографии Леннона, дает довольно точное представление о том, как битлы в то время относились к деньгам и своей роли поп-звезд.

1) Моя первая гитара Рикенбакен. Теперь уже немного потертая, я ей почти не пользуюсь. Купил ее в Германии - не помню, сколько стоила, но для меня это в любом случае было жутко дорого.

2) Три машины: Rolls-Royce, Mini Cooper и Ferrari. Mini чтобы просто кататься, Rolls для релаксации и Ferrari, чтобы бибикать. Но я очень редко езжу. Я не очень-то хороший водитель.

3) Плавательный бассейн. Мне нравится плавать дома. Это роскошь. У каждого богача должен быть бассейн.

4) Два рисунка авторства Стюарта Сатклиффа, нашего бывшего басиста. Я всегда их держу при себе, из сентиментальных соображений.

5) Каменная глыба: мы нашли ее у ворот, и кто-то сказал, что она доисторическая. С тех пор на меня снизошло озарение, и теперь я точно уверен, что все это полная ерунда.

6) Лягушка из камня. Мне нравится, как она сидит у камина, рядом с телевизором, и пялится на всех нас.

7) Около двадцати костюмов; но я ношу только два, оба черные. У меня есть еще и фрак, но без крайней нужды я его не надеваю - жутко неудобная штука.

8) Пластинка Singing Postman: малая толика моей гигантской коллекции записей. Но мне она нравится особенно, очень уж дурацкая. А вообще у меня в коллекции есть все: современный джаз, электроника, классика, индийская музыка.

9) Музыкальный автомат. Вмещает 48 пластинок, но я его использую в основном для рок-н-ролльных стандартов, типа «Be bop a lula». Еще у меня есть всякие игровые автоматы типа пинбола - просто для прикола.

10) Студия, а в ней два очень хороших кассетных магнитофона, с помощью которых я могу записывать свои песни. И 12 гитар, некоторые, правда, сломаны".

О.К.

Αποσπάσματα από κείμενο του Τζων Λέννον που δημοσιεύθηκε το καλοκαίρι του 1979 στο πειραματικό τεύχος νούμερο 0 του ελληνικού αντεργκράουντ περιοδικού «Speak Out»).
 
Δεν πιστεύω πια στους μύθους και οι Beatles ήταν ένας μύθος. Δεν πιστεύω πια σε αυτόν, το όνειρο τελείωσε. Και δεν μιλάω μόνο για τους Beatles, μιλάω για όλην εκείνη την γενιά. Το όνειρο τελείωσε, και εμείς πρέπει να προσγειωθούμε στην λεγόμενη πραγματικότητα. Όσα περισσότερα πράγματα κερδίζαμε, τόσα περισσότερη μη πραγματικότητα είχαμε να αντιμετωπίσουμε, τόσο περισσότερα περίμεναν από εμάς να κάνουμε – ώσπου κάποτε παραλείπαμε να σφίξουμε το χέρι κάποιας κυρίας δημάρχου και εκείνη άρχιζε να μας βρίζει και να ξεφωνίζει και να λέει «Πώς τολμάτε !». Είχαμε την υποχρέωση, υποτίθεται, να αφήνουμε τους δημάρχους να μας κάνουν ό,τι θέλουν, όχι μόνο να μας πιάνουν, αλλά και να μας πατάνε.  
   
Αν δεν δεχόμασταν να δούμε τις κόρες τους, που ακόμα δεν είχαν βγει από το αυγό, μας απειλούσαν πάντοτε με το τι θα πούνε για εμάς στους δημοσιογράφους και με την μεγάλη δυσφήμιση που είχαν πρόθεση να μας κάνουν. Είχαμε παντού και πάντα να αντιμετωπίσουμε τις κόρες των αστυνομικών διευθυντών ή των δημάρχων, που είναι τα πιο απαίσια παιδιά που υπάρχουν, επειδή βέβαια και οι γονείς τους είναι οι πιο απαίσιοι.  

Εγώ δεν μπορούσα να κάθομαι να με προσβάλλουν εκείνες οι ψωροφαντασμένες μικροαστές κυράτσες και εκείνα τα σαχλοκόριτσα. Με πλήγωνε αυτό, με έκανε άνω – κάτω, και πολλές φορές τις έβριζα. Ήταν κάτι το φοβερό.      
 


 
Για να γίνει κανείς αυτό που είχαμε γίνει εμείς οι Beatles, πρέπει να ταπεινωθεί πέρα για πέρα. Και αυτό είναι που με κάνει να αγανακτώ. Με έκανε δηλαδή. Δεν ήξερα, δεν είχα προβλέψει. Το πράγμα συνέβη λίγο – λίγο και από μόνο του, μέχρι που βρέθηκα τελικά τριγυρισμένος από εκείνη την απόλυτη τρέλλα, μέχρι που βρέθηκα στο σημείο να κάνω ό,τι ακριβώς δεν ήθελα να κάνω και πλαισιωμένος από τύπους ανθρώπων που τους μισούσα όταν ήμουν 10 χρονών…  

… Στον μύθο των Beatles πιστέψαμε και εμείς οι ίδιοι. Δεν ξέρω αν οι άλλοι εξακολουθούν να πιστεύουν ή όχι. Τέσσερα παιδιά ήμασταν, απλώς τέσσερα παιδιά. Γνώρισα τον Πώλ και του είπα «θέλεις να μπεις στο συγκρότημά μου;». Καταλαβαίνετε, τέτοια απλά πράγματα. Ύστερα έσμιξε μαζί μας και ο Τζωρτζ και έπειτα ο Ρίνγκο. Δεν υπήρξαμε τίποτε περισσότερο από ένα μουσικό συγκρότημα που απλώς τα κατάφερε αρκετά καλά. Τίποτε άλλο.  

Η καλύτερή μας δουλειά δεν ηχογραφήθηκε ποτέ. Γιατί υπήρξαμε άνθρωποι της σκηνής. Τα όσα δημιουργούσαμε όταν παίζαμε γνήσιο ροκ, ήταν κάτι το ασύλληπτο. Κανείς δεν μπορούσε να μας φθάσει στην Αγγλία. Ύστερα πιάσαμε την καλή και οι Beatles πέθαναν ως μουσικοί. Για αυτό και ως μουσικοί δεν βελτιωθήκαμε από εκεί και πέρα. Αυτοκτονήσαμε για να πιάσουμε την καλή. Και αυτό ήταν το τέλος μας.  
 
 


 
Οι περιοδείες των Beatles θύμιζαν «Σατυρικόν» του Φελλίνι. Αυτή ήταν η εικόνα που δίναμε τότε. Οι παρέες μας δεν ήτνα εκείνο που θα περιέγραφε κανείς ως καλά κορίτσια. Και όταν δεν υπήρχαν ούτε αυτά, τότε οπωσδήποτε καταφεύγαμε σε πόρνες, όπου κι αν πηγαίναμε. Όταν φθάναμε σε κάποια πόλη, του δίναμε και καταλάβαινε. Ξέρετε, υπάρχουν φωτογραφίες μου που με δείχνουν να σέρνομαι με τα γόνατα καθώς βγαίνω από ένα πορνείο στο Άμστερνταμ, ενώ ο κόσμος περνάει και με καλημερίζει. Και σε όλα αυτά τα μέρη μας συνόδευε η αστυνομία, γιατί δεν ήθελαν να γίνει κανένα μεγάλο σκάνδαλο.  ΜΕΓΑΛΑ ΜΟΥΤΡΑ, αυτό ήμασταν τελικά οι Beatles. Για να πιάσει κανείς την καλή, όπως εμείς, πρέπει υποχρεωτικά να είναι μούτρο. Και οι Beatles ήμασταν τα μεγαλύτερα μούτρα του κόσμου…  

…Για τις συνέπειες που είχαν οι Beatles στην ιστορία της Αγγλίας δεν ξέρω φυσικά τι να πω. Οι άνθρωποι που κρατούν τα ηνία, που έχουν την εξουσία και ορίζουν το ταξικό σύστημα και την αστική νομιμότητα, εξακολουθούν να είναι οι ίδιοι που ήταν πριν, μόνο που τώρα απλώς ένα μεγάλο πλήθος παιδιών της μεσοαστικής τάξεως κυκλοφορούν στο Λονδίνο με μακριά μαλλιά και με φθαρμένα ρούχα. Τα ίδια όμως καθάρματα εξακολουθούν να κρατούν τα ηνία, οι ίδιοι άνθρωποι εξακολουθούν να καταστρέφουν τα πάντα.  
 


 
Όσοι δείχνουμε ευαισθησίες και θέλουμε να προβάλουμε αντίσταση είμαστε μία μειονότητα. Πάντα μειονότητα ήταν άλλωστε οι άνθρωποι του είδους αυτού. Απλώς, για τον έναν ή τον άλλον λόγιο, τώρα τυχαίνει να είμαστε μια κάπως μεγαλύτερη μειονότητα.  
 

John Lennon

φυλλο της 02/08/2006 της εφημεριδας ΕΛΕΥΘΕΡΟΤΥΠΙΑ
αρθρο του ΔΗΜΗΤΡΗ ΑΝΑΣΤΑΣΟΠΟΥΛΟΥ


«Ο Λένον αντιπροσώπευε τη ζωή, ενώ ο Νίξον όπως και τώρα ο Μπους τζούνιορ είναι οι πρόεδροι των ΗΠΑ που αντιπροσωπεύουν τον θάνατο».

Με αυτά τα λόγια ο Αμερικανός συγγραφέας Γκορ Βιντάλ, μιλώντας για τον Λένον, δίνει το στίγμα της ταινίας «The US vs John Lennon», που από τον Σεπτέμβριο θα προβάλλεται στις κινηματογραφικές αίθουσες. Η ταινία, γυρισμένη από τους Ντέιβιντ Λιφ και Τζον Σένφιλντ, είναι ένα ντοκιμαντέρ που δείχνει τη μεταμόρφωση του Λένον από ποπ αστέρα σε ακτιβιστή υπέρ της ειρήνης. Ενώ, παράλληλα, εξετάζει τις προσπάθειες της κυβέρνησης του Ρίτσαρντ Νίξον με τη βοήθεια του FBI και του περιβόητου διευθυντή του, Τζέι Εντγκαρ Χούβερ, να φιμώσουν τον Λένον. Μέσα στην ταινία μιλάνε για τον πολιτικό Λένον όχι μόνο η Γιόκο Ονο, σύντροφός του στην πάλη για την ειρήνη, αλλά και φημισμένοι στοχαστές, όπως ο Νόαμ Τσόμσκι και η μαύρη ακτιβίστρια Αντζελα Ντέιβις.

«Ούτε καν μας είχε περάσει από το μυαλό ότι ήταν επικίνδυνο να παλεύουμε για την παγκόσμια ειρήνη», είπε η χήρα του Λένον, Γιόκο Ονο. «Ημασταν μάλλον αφελείς. Οταν ο Τζον τραγουδούσε στίχους όπως "κανείς δεν μου είπε ότι θα έρθουν τέτοιες μέρες", το εννοούσε πραγματικά». Η Ονο άλλωστε ήταν, σύμφωνα με τους άλλους Beatles, η γυναίκα που έπεισε τον Λένον να συμμετάσχει στο κίνημα ενάντια στον πόλεμο του Βιετνάμ. Μαζί φωτογραφήθηκαν γυμνοί το '69 στο δωμάτιο του ξενοδοχείου τους στο Αμστερνταμ, κάνοντας πράξη το σύνθημα «Κάντε έρωτα, όχι πόλεμο». Ενώ την ίδια χρονιά ηχογράφησαν στο Μόντρεαλ τον αντιπολεμικό ύμνο «Give Peace Α Chance». Αλλά τράβηξαν την προσοχή του FBI, δύο χρονια μετά, όταν μπήκαν επικεφαλής μιας μεγάλης συναυλίας αλληλλεγγύης στον τότε φυλακισμένο Τζον Σίνκλερ στο Αν Αρμπορ του Μίτσιγκαν. Ο Σίνκλερ, διάσημος αντιπολεμικός ακτιβιστής και ιδρυτής του κόμματος των Λευκών Πανθήρων, είχε καταδικαστεί σκανδαλωδώς σε δέκα χρόνια κάθειρξη για κατοχή μικροποσότητας μαριχουάνας. Εκείνη την ημέρα ο Λένον είχε βγει στη σκηνή μπροστά σε δεκαπέντε χιλιάδες άτομα φωνάζοντας «Αρκετά με την απάθεια, ήρθαμε να σας πούμε ότι πρέπει να κινηθείτε αν θέλετε να αλλάξετε κάτι. Η χίπικη φιλοσοφία δεν έφερε αποτελέσματα. Οποτε ξεκινάμε από την αρχή».

«Ποτέ δεν ήμουν πολιτικοποιημένος», λέει ο Λένον στις συνεντεύξεις από το παρελθόν που συμπληρώνουν το ντοκιμαντέρ, «είχα όμως έναν φόβο και μια δυσπιστία απέναντι στην αστυνομία ως παιδί της εργατικής τάξης. Τώρα προσπαθώ να μιλήσω μέσα από τη μουσική μου στους ανθρώπους, να τους πω ότι πρέπει να έχουν εμπιστοσύνη στον εαυτό τους και να παλέψουν για ένα καλύτερο αύριο». Καθώς κορυφωνόταν ο πόλεμος στο Βιετνάμ, η κυβέρνηση του Νίξον είχε στρέψει την προσοχή της ειδικά στον Τζον Λένον. Ο ίδιος ο πρόεδρος Νίξον είχε μια εμμονή «με αυτό τον Beatle» και είχε ζητήσει να ενημερώνεται καθημερινά για τις κινήσεις του. Πίστευε ότι ήταν ο κύριος υπεύθυνος για τη στροφή της ροκ σκηνής στο αντιπολεμικό κίνημα. Αλλωστε, όπως αποκαλύπτει η ταινία, οι προσπάθειες των πρακτόρων του FBI επικεντρώνονταν στην προσπάθεια να βρούνε μια αφορμή για να τον απελάσουν, όπως τη χρήση ναρκωτικών ή την κομμουνιστική προπαγάνδα. Αφού ο Λένον ως Βρετανός υπήκοος αναγκαζόταν να ζητάει βίζα για να μείνει στις ΗΠΑ.

«Η μάχη του Λένον με την κυβέρνηση Νίξον είναι μια σημαντική ιστορία που έπρεπε να ειπωθεί», λένε οι σκηνοθέτες Λιφ και Σένφιλντ. Και, όπως εξηγούν, «αυτή η σύγκρουση δεν ήταν ένα μεμονωμένο επεισόδιο της ιστορίας, αλλά αφορά την πάλη για την ειρήνη και τα ανθρώπινα δικαιώματα, που παραμένει σημαντική όσο τίποτε άλλο σήμερα». Πολύ απλά οι δύο σκηνοθέτες χρησιμοποιούν την ιστορία ενός καλλιτέχνη που αφιερώθηκε στον αγώνα ενάντια στον πόλεμο του Βιετνάμ για να δείξουν ότι η ίδια κατάσταση επικρατεί και τώρα στις ΗΠΑ, όπου ένας πολεμοχαρής πρόεδρος έχει αιματοκυλήσει τη Μέση Ανατολή. Μόνο που τώρα η ροκ σκηνή κοιτάει με απάθεια τα γεγονότα στις οθόνες της τηλεόρασης.

[size=18]Love, Love, Love.
Love, Love, Love.
Love, Love, Love.

There's nothing you can do that can't be done.
Nothing you can sing that can't be sung.
Nothing you can say but you can learn how to play the game.
It's easy.

Nothing you can make that can't be made.
No one you can save that can't be saved.
Nothing you can do but you can learn how to be you in time.
It's easy.

All you need is love.
All you need is love.
All you need is love, love.
Love is all you need.

All you need is love.
All you need is love.
All you need is love, love.
Love is all you need.

Nothing you can know that isn't known.
Nothing you can see that isn't shown.
Nowhere you can be that isn't where you're meant to be.
It's easy.

All you need is love.
All you need is love.
All you need is love, love.
Love is all you need.

All you need is love (All together, now!)
All you need is love. (Everybody!)
All you need is love, love.
Love is all you need (love is all you need).

Yee-hai!
Oh yeah!
She loves you, yeah yeah yeah.
She loves you, yeah yeah yeah.[/size]

Day after day alone on the hill,
The man with the foolish grin is keeping perfectly still,
But nobody wants to know him,
They can see that he's just a fool,
And he never gives an answer,
But the fool on the hill
Sees the sun going down,
And the eyes in his head,
See the world spinning around.

Well on his way his head in a cloud,
The man of a thousand voices talking percetly loud
But nobody ever hears him,
Or the sound he appears to make,
And he never seems to notice,
But the fool on the hill . . .
Nobody seems to like him
They can tell what he wants to do.
And he never shows his feelings,
But the fool on the hill . . .

There's a fog upon L.A.
And my friends have lost their way
We'll be over soon they said
Now they've lost themselves instead.
Please don't be long please don't you be very long
Please don't be long or I may be asleep
Well it only goes to show
And I told them where to go
Ask a policeman on the street
There's so many there to meet
Please don't be long please don't you be very long
Please don't be long or I may be asleep
Now it's past my bed I know
And I'd really like to go
Soon will be the break of day
Sitting here in Blue Jay Way
Please don't be long please don't you be very long
Please don't be long or I may be asleep.
Please don't be long please don't you be very long
Please don't be long
Please don't be long please don't you be very long
Please don't be long
Please don't be long please don't you be very long
Please don't be long
Don't be long - don't be long - don't be long
Don't be long - don't be long - don't be long.

Let's all get up and dance to a song
That was a hit before your mother was born.
Though she was born a long, long time ago
Your mother should know (Your mother should...)
Your mother should know (...know.)
Sing it again.
Let's all get up and dance to a song
That was a hit before your mother was born.
Though she was born a long, long time ago
Your mother should know (Your mother should...)
Your mother should know (...know.)
Lift up your hearts and sing me a song
That was a hit before your mother was born.
Though she was born a long, long time ago
Your mother should know (Your mother should...)
Your mother should know (Aaaah.)
Your mother should know (Your mother should...)
Your mother should know (Aaaah.)
Sing it again.
Da-da-da-da...
Though she was born a long, long time ago
Your mother should know (Your mother should...)
Your mother should know (Yeah.)
Your mother should know (Your mother should...)
Your mother should know (Yeah.)
Your mother should know (Your mother should...)
Your mother should know (Yeah.)

I am he as you are he as you are me and we are all together.
See how they run like pigs from a gun, see how they fly.
I'm crying.

Sitting on a cornflake, waiting for the van to come.
Corporation tee-shirt, stupid bloody Tuesday.
Man, you been a naughty boy, you let your face grow long.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob.

Mister City Policeman sitting
Pretty little policemen in a row.
See how they fly like Lucy in the Sky, see how they run.
I'm crying, I'm crying.
I'm crying, I'm crying.

Yellow matter custard, dripping from a dead dog's eye.
Crabalocker fishwife, pornographic priestess,
Boy, you been a naughty girl you let your knickers down.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob.

Sitting in an English garden waiting for the sun.
If the sun don't come, you get a tan
From standing in the English rain.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob g'goo goo g'joob.

Expert textpert choking smokers,
Don't you thing the joker laughs at you?
See how they smile like pigs in a sty,
See how they snied.
I'm crying.

Semolina pilchard, climbing up the Eiffel Tower.
Elementary penguin singing Hari Krishna.
Man, you should have seen them kicking Edgar Allan Poe.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob g'goo goo g'joob.
Goo goo g'joob g'goo goo g'joob g'goo.

You say yes, I say no.
You say stop and I say go go go, oh no.
You say goodbye and I say hello
Hello hello
I don't know why you say goodbye, I say hello
Hello hello
I don't know why you say goodbye, I say hello.

I say high, you say low.
You say why and I say I don't know, oh no.
You say goodbye and I say hello
HELLO GOODBYE HELLO GOODBYE hello hello
HELLO GOODBYE I don't know why you say goodbye, I say hello
HELLO GOODBYE HELLO GOODBYE hello hello
HELLO GOODBYE I don't know why you say goodbye
HELLO GOODBYE I say goodbye.

Why why why why why why do you say goodbye goodbye, oh no?

You say goodbye and I say hello
Hello hello
I don't know why you say goodbye, I say hello
Hello hello
I don't know why you say goodbye, I say hello.

You say yes I SAY YES I say no BUT I MAY MEAN NO.
You say stop I CAN STAY and I say go go go TILL IT'S TIME TO GO OH, oh no.
You say goodbye and I say hello
Hello hello
I don't know why you say goodbye, I say hello
Hello hello
I don't know why you say goodbye, I say goodbye
Hello hello
I don't know why you say goodbye, I say hello hello.

Hela heba helloa CHA CHA, hela...

In Penny Lane there is a barber showing photographs
Of every head he's had the pleasure to know.
And all the people that come and go
Stop and say hello.

On the corner is a banker with a motorcar,
The little children laugh at him behind his back.
And the banker never wears a mack
In the pouring rain, very strange.

Penny Lane is in my ears and in my eyes.
There beneath the blue suburban skies
I sit, and meanwhile back

In penny Lane there is a fireman with an hourglass
And in his pocket is a portrait of the Queen.
He likes to keep his fire engine clean,
It's a clean machine.

Penny Lane is in my ears and in my eyes.
A four of fish and finger pies
In summer, meanwhile back

Behind the shelter in the middle of a roundabout
The pretty nurse is selling poppies from a tray
And tho' she feels as if she's in a play
She is anyway.

In Penny Lane the barber shaves another customer,
We see the banker sitting waiting for a trim.
And then the fireman rushes in
From the pouring rain, very strange.

Penny lane is in my ears and in my eyes.
There beneath the blue suburban skies
I sit, and meanwhile back.
Penny lane is in my ears and in my eyes.
There beneath the blue suburban skies,
Penny Lane.

How does it feel to be
One of the beautiful people?
Now that you know who you are
What do you want to be?
And have you travelled very far?
Far as the eye can see.
How does it feel to be
One of the beautiful people?
How often have you been there?
Often enough to know.
What did you see, when you were there?
Nothing that doesn't show.
Baby you're a rich man,
Baby you're a rich man,
Baby you're a rich man too.
You keep all your money in a big brown bag inside a zoo.
What a thing to do.
Baby you're a rich man,
Baby you're a rich man,
Baby you're a rich man too.
How does it feel to be
One of the beautiful people?
Tuned to A natural E
Happy to be that way.
Now that you've found another key
What are you going to play?
Baby you're a rich man,
Baby you're a rich man,
Baby you're a rich man too.
You keep all your money in a big brown bag inside a zoo.
What a thing to do.
Baby you're a rich man...

Let me take you down, 'cause I'm going to Strawberry Fields.
Nothing is real and nothing to get hungabout.
Strawberry Fields forever.

Living is easy with eyes closed, misunderstanding all you see.
It's getting hard to be someone but it all works out, it doesn't matter much to me.
Let me take you down, 'cause I'm going to Strawberry Fields.
Nothing is real and nothing to get hungabout.
Strawberry Fields forever.

No one I think is in my tree, I mean it must be high or low.
That is you can't you know tune in but it's all right, that is I think it's not too bad.
Let me take you down, 'cause I'm going to Strawberry Fields.
Nothing is real and nothing to get hungabout.
Strawberry Fields forever.

Always, no sometimes, think it's me, but you know I know when it's a dream.
I think I know I mean a 'Yes' but it's all wrong, that is I think I disagree.
Let me take you down, 'cause I'm going to Strawberry Fields.
Nothing is real and nothing to get hungabout.
Strawberry Fields forever.
Strawberry Fields forever.

You say yes, I say no.
You say stop and I say go go go, oh no.
You say goodbye and I say hello
Hello hello
I don't know why you say goodbye, I say hello
Hello hello
I don't know why you say goodbye, I say hello.

I say high, you say low.
You say why and I say I don't know, oh no.
You say goodbye and I say hello
HELLO GOODBYE HELLO GOODBYE hello hello
HELLO GOODBYE I don't know why you say goodbye, I say hello
HELLO GOODBYE HELLO GOODBYE hello hello
HELLO GOODBYE I don't know why you say goodbye
HELLO GOODBYE I say goodbye.

Why why why why why why do you say goodbye goodbye, oh no?

You say goodbye and I say hello
Hello hello
I don't know why you say goodbye, I say hello
Hello hello
I don't know why you say goodbye, I say hello.

You say yes I SAY YES I say no BUT I MAY MEAN NO.
You say stop I CAN STAY and I say go go go TILL IT'S TIME TO GO OH, oh no.
You say goodbye and I say hello
Hello hello
I don't know why you say goodbye, I say hello
Hello hello
I don't know why you say goodbye, I say goodbye
Hello hello
I don't know why you say goodbye, I say hello hello.

Hela heba helloa CHA CHA, hela...

Day after day alone on the hill,
The man with the foolish grin is keeping perfectly still,
But nobody wants to know him,
They can see that he's just a fool,
And he never gives an answer,
But the fool on the hill
Sees the sun going down,
And the eyes in his head,
See the world spinning around.

Well on his way his head in a cloud,
The man of a thousand voices talking percetly loud
But nobody ever hears him,
Or the sound he appears to make,
And he never seems to notice,
But the fool on the hill . . .
Nobody seems to like him
They can tell what he wants to do.
And he never shows his feelings,
But the fool on the hill . . .

[size=18]Roll up, roll up for the mystery tour.
Roll up, roll up for the mystery tour.
Roll up AND THAT'S AN INVITATION, roll up for the mystery tour.
Roll up TO MAKE A RESERVATION, roll up for the mystery tour.
The magical mystery tour is waiting to take you away,
Waiting to take you away.

Roll up, roll up for the mystery tour.
Roll up, roll up for the mystery tour.
Roll up WE'VE GOT EVERYTHING YOU NEED, roll up for the mystery tour.
Roll up SATISFACTION GUARANTEED, roll up for the mystery tour.
The magical mystery tour is hoping to take you away,
Hoping to take you away.

Roll up, roll up for the mystery tour.
Roll up, roll up for the mystery tour.
Roll up AND THAT'S AN INVITATION, roll up for the mystery tour.
Roll up TO MAKE A RESERVATION, roll up for the mystery tour.
The magical mystery tour is coming to take you away,
Coming to take you away.
The magical mystery tour is dying to take you away,
Dying to take you away, take you away.[/size]

Στο μεταίχμιο της ελληνικής ιστορίας

Μεγάλωσα σε μια εποχή που ένιωθε βαριά και ίσως αφόρητη την παρουσία της “γενιάς του ‘30” πάνω της. Ανατράφηκα με τον Βενέζη και τον Θεοτοκά, τον “Κοτζάμπαση του Καστρόπυργου” του Καραγάτση και τον “Επιτάφιο” του Ρίτσου, το σεφερικό “Μυθιστόρημα” και το “Μαραμπού”, την “Υψικάμινο” του Εμπειρίκου και τα δοκίμια του Δημαρά. Γνώρισα τα δοκίμια του Κάλας μέσα από ξεχασμένα τεύχη της “Κομμουνιστικής Επιθεώρησης”, κάτω από άγνωστα ψευδώνυμα (Σπιέρρος) και τραγούδησα το “Άξιον Εστί”. Είδα τη ζωγραφική με τα μάτια του Τσαρούχη και την Αρχαία τραγωδία μέσα από τη σκηνοθεσία του Δημήτρη Ροντήρη. Συχνά τότε, νέος, δυσανασχετώντας γι’ αυτήν την πανταχού παρούσα “ξεπερασμένη” γενιά, ευαγγελίστηκα την έλευση μιας “καινούργιας γενιάς” που θα ξεπερνούσε την “προηγούμενη”, τη “γενιά της ήττας”, του Αναγνωστάκη, του Κύρου, του Λεοντάρη, και θα οικοδομούσε ένα θαρραλέο μέλλον, “υπερβαίνοντας επιτέλους” τον επαρχιωτισμό της ψωροκώσταινας, ατενίζοντας θαρραλέα και χωρίς μάταιους ελληνοκεντρισμούς τον θαυμαστό καινούργιο κόσμο που ανέτελλε μέσα από τα οδοφράγματα του ’68, τους Μπητλς και τον κινηματογράφο του Γκοντάρ.
Βέβαια δεν είχα διαβάσει τότε το “Ελεύθερο Πνεύμα” του Γιώργου Θεοτοκά, για να κατανοήσω πως και η δική του γενιά, η “γενιά του ‘30”, έτρεφε την ίδια ακριβώς φιλοδοξία, “να τρέξει επιτέλους με γρήγορα αυτοκίνητα” την “Λεωφόρο Συγγρού” και να ξεπεράσει τον “Καημό της ρωμιοσύνης”, να συμβάλει στη δημιουργία μιας Ελλάδας που θα έπαιζε στο εξής ενεργητικό ρόλο στη διαμόρφωση του ευρωπαϊκού πολιτισμού. “Όταν ο παλιός κόσμος πίσω μας θα καίγεται”! Αυτό υπήρξε και το ιδεώδες της δικής μου γενιάς, της “γενιάς του ‘60”. Οι γενιές μας έμοιαζαν, και ίσως γι’ αυτό νιώθαμε τόσο έντονα να μας βαραίνει η παρουσία της γενιάς του '30. Υπήρξαμε και οι δύο μεταπολεμικές, και οι δύο μετά μια μεγάλη καταστροφή, την Μικρασιατική και τον Εμφύλιο, και οι δυο σε εποχές μεγάλων ζυμώσεων, η πρώτη μετά την Οκτωβριανή Επανάσταση, εμείς μετά την αντιαποικιακή, μετά την Κύπρο, την Κούβα και τον Κάστρο, ταυτόχρονα με το Βιετνάμ, τον Γκεβάρα, τον Μάο και το κίνημα του ’68, της εφόδου στον ουρανό. Και οι δύο ζήσαμε σε μια στιγμή οικονομικής και πολιτιστικής άνθησης, που έλαβε τέλος με… μια δικτατορία, και μια κατοχή (είτε του ’40 είτε της Κύπρου).



Γιώργος Καραμπελιάς

περιοδικο ΑΡΔΗΝ
τευχος 25-26

A hard day's night (Ρίτσαρντ Λέστερ):
 H ταινία που χαρακτηρίστηκε ως "Πολίτης Κέιν των μουσικών ταινιών", έχει ως πρωταγωνιστές τους Μπήτλς και τη μουσική τους και εξιστορεί 36 ώρες από τη ζωή του συγκροτήματος, από τη στιγμή που επιβιβάζονται σε ένα τρένο για το Λονδίνο μαζί με το μάνατζέρ τους. Η ταινία τους ακολουθεί σε νυχτερινά κέντρα του Λονδίνου και σε τηλεοπτικά στούντιο, ενώ προσπαθούν να γλιτώσουν από τις υστερικές θαυμάστριές τους. Πρόκειται για ένα ψευτο - ντοκιμαντέρ (στην πραγματικότητα βασίζονταν σε σενάριο του Άλαν Όουεν), γυρισμένο σε ασπρόμαυρο φίλμ, που κατάφερε να γίνει μεγάλη επιτυχία χάρη κυρίως στους Μπήτλς, αλλά και στη νευρική σκηνοθεσία του Ρίτσαρντ Λέστερ και ν'αλλάξει ριζικά την μορφή των ταινιών γύρω από την πόπ μουσική.

wraia....rikse mia metafrash twra.