thriller

Michael Jackson kicked open the doors of opportunity for black artists and took the world by storm with the phenomenal marriage of musical styles in this pop masterpiece that remains the biggest selling album of all time. 'Thriller' capitalized on the success of his blockbuster 'Off the Wall' album that yielded four top ten hits. Building on the futuristic disco funk of that album, Jackson went for broke with his new album, bringing in guest stars like Paul McCartney, Vincent Price, Eddie Van Halen, and members of Toto to bridge musical forms like pop, soul, funk, and hard rock into a new hybrid that would appeal to a wide array of fans. He co-produced the album with Quincy Jones at Westlake Recording Studios drawing inspiration from Pyotr Ilyich Tchaikovsky. Jackson called the album "a complete transition. Ever since I was a little boy, I would study composition. And it was Tchaikovsky that influenced me the most. If you take an album like Nutcracker Suite, every song is a killer, every one. So I said to myself, 'Why can't there be a pop album where every [song is a killer]?'...I do that same process with every song. It's the melody, the melody is the most important...If the melody sounds good in my head, it's usually good when I do it."

The sessions included: Brian Banks on keyboards, synthesizers, and programming; Michael Boddicker on keyboards and synthesizers; N'dugu Chancler on drums; Paulinho da Costa on percussion; David Foster on keyboards and synthesizers; Gary Grant on trumpet and flügelhorn; Eddie Van Halen on guitar; Jerry Hey on trumpet and flügelhorn; Michael Jackson on lead and background vocals, drum case beater, bathroom stomp board, vocal, drum, horn and string arrangement; Paul Jackson on guitar; Louis Johnson on bass guitar; Steve Lukather on guitar and bass; Anthony Marinelli on synthesizer programming; Paul McCartney on vocals; David Paich on keyboards, synthesizers, and programming; Dean Parks on guitar; Greg Phillinganes on keyboards, synthesizers, and programming; Jeff Porcaro on drums and horn and string arrangements; Steve Porcaro on keyboards, synthesizers, and programming; Vincent Price on voice-over; Bill Reichenbach on trombone; Rod Temperton on keyboards and synthesizers; David Williams on guitar; Larry Williams on saxophone and flute; Bill Wolfer on keyboards and synthesizers; Greg Smith on synthesizers; and La Toya Jackson and Janet Jackson on background vocals.

The music may have been pop music; but there were dark themes in the lyrics. Jackson drew from paranoia and obsession and addressed his critics and the music industry in general: "They demand that, and they want you to do this. They thing that they own you, they think they made you. If you don't have faith, you go crazy. Like not doing interviews. If I talk, I say what's on my mind, and it can seem strange to other peoples' ears. I'm the kind of person who will tell it all, even though it's a secret. And I know that things should be kept private...Some circumstances require me to be real quiet, but I dance every Sunday."



'Thriller' broke barriers for black musicians when CBS Records threatened to pull all of their videos from MTV if the music channel wouldn't play Jackson's videos. Likewise, the songs received massive airplay on radio and paved the way for other artists that followed. The success of the album was unprecedented: seven of the nine songs on 'Thriller' were released as singles and all of them were top ten hits; and it stayed in the top ten of the US album chart for a whole year. Of the eighty consecutive weeks it spent in the top ten, thirty-seven were at number one. It also hit number one in Australia, Austria, Canada, France, Italy, Japan, Switzerland, and the UK. In 1984, it was listed in the Guinness Book of World Records as the biggest selling album of all time, after two years of massive sales that made it the best selling album of both years. Jackson won the Special Award of Merit, three MTV Video Music Awards, eight American Music Awards, and a record of eight Grammy Awards, including: Best Engineered Non-Classical Recording for Bruce Swedien, Producer of the Year for Jones and Jackson, Best R&B Song and Best Male R&B Vocal Performance for 'Billie Jean', Best Male Pop Vocal Performance for 'Thriller', Best Male Rock Vocal Performance and Record of the Year for 'Beat It', plus Album of the Year. 'Thriller' has sold more than forty-two million copies worldwide (thought some claim as much as one hundred and ten million copies). 

'Thriller' made Jackson as the King of Pop and established him as one of the greatest artists of all time.

http://www.michaeljackson.com/











"Billie Jean" was a number one smash. The subject matter drew from a paternity suit with one of his brothers and the music was inspired by 'I Can't Go for That (No Can Do)' by Hall & Oates. Jones tried to get Jackson to shorten the instrumental intro; but he refused saying: "That's the jelly!" 

She was more like a beauty queen from a movie scene

I said don't mind, but what do you mean I am the one

Who will dance on the floor in the round

She said I am the one will dance on the floor in the round

She told me her name was Billie Jean, as she caused a scene

Then every head turned with eyes that dreamed of being the one

Who will dance on the floor in the round

People always told me be careful of what you do

And don't go around breaking young girls' hearts

And mother always told me be careful of who you love

And be careful of what you do 'cause the lie becomes the truth

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

She says I am the one, but the kid is not my son

For forty days and forty nights

The law was on her side

But who can stand when she's in demand

Her schemes and plans

'Cause we danced on the floor in the round

So take my strong advice, just remember to always think twice

(Do think twice)

She told my baby we'd danced till three, then she looked at me

Then showed a photo my baby cried his eyes were like mine (oh, no!)

'Cause we danced on the floor in the round, baby

People always told me be careful of what you do

And don't go around breaking young girls' hearts

She came and stood right by me

Then the smell of sweet perfume

This happened much too soon

She called me to her room

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

She says I am the one, but the kid is not my son

She says I am the one, but the kid is not my son

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

She says I am the one, but the kid is not my son

She says I am the one, but the kid is not my son

She says I am the one

(Billie Jean is not my lover)

Jackson debuted his phenomenal moonwalk dance to the song on the 'Motown 25: Yesterday, Today, and Forever' television special.











"Beat It" featured Eddie Van Halen on guitar and went to number one as well. The video was an homage to 'West Side Story'. 

They told him don't you ever come around here 

Don't wanna see your face, you better disappear 

The fire's in their eyes and their words are really clear 

So beat it, just beat it 

You better run, you better do what you can 

Don't wanna see no blood, don't be a macho man 

You wanna be tough, better do what you can 

So beat it, but you wanna be bad 

Just beat it, beat it, beat it, beat it 

No one wants to be defeated 

Showin' how funky and strong is your fight 

It doesn't matter who's wrong or right 

Just beat it, beat it 

Just beat it, beat it 

Just beat it, beat it 

Just beat it, beat it 

They're out to get you, better leave while you can 

Don't wanna be a boy, you wanna be a man 

You wanna stay alive, better do what you can 

So beat it, just beat it 

You have to show them that you're really not scared 

You're playin' with your life, this ain't no truth or dare 

They'll kick you, then they beat you, 

Then they'll tell you it's fair 

So beat it, but you wanna be bad 

Just beat it, beat it, beat it, beat it 

No one wants to be defeated 

Showin' how funky and strong is your fight 

It doesn't matter who's wrong or right 

"Thriller" was the last single released from the album, and it made it's debut at number seven on the pop chart. The groundbreaking video directed by John Landis is the best selling music video of all time. Jackson said: “My idea was to make this short film with conversation...I remember my original approach was, ‘How do you make zombies and monsters dance without it being comical?’ So I said, ‘We have to do just the right kind of movement so it doesn’t become something that you laugh at.’ But it just has to take it to another level. So I got in a room with [choreographer] Michael Peters, and he and I together kind of imagined how these zombies move by making faces in the mirror.”

It's close to midnight and something evil's lurking in the dark

Under the moonlight, you see a sight that almost stops your heart

You try to scream but terror takes the sound before you make it

You start to freeze as horror looks you right between the eyes

You're paralyzed

'Cause this is thriller, thriller night

And no one's gonna save you from the beast about strike

You know it's thriller, thriller night

You're fighting for your life inside a killer, thriller tonight

You hear the door slam and realize there's nowhere left to run

You feel the cold hand and wonder if you'll ever see the sun

You close your eyes and hope that this is just imagination, girl!

But all the while you hear the creature creeping up behind

You're out of time

'Cause this is thriller, thriller night

There ain't no second chance against the thing with forty eyes, girl

Thriller, thriller night

You're fighting for your life inside a killer, thriller tonight

Night creatures calling, the dead start to walk in their masquerade

There's no escaping the jaws of the alien this time

(They're open wide)

This is the end of your life

They're out to get you, there's demons closing in on every side

They will possess you unless you change that number on your dial

Now is the time for you and I to cuddle close together, yeah

All through the night I'll save you from the terror on the screen

I'll make you see

That this is thriller, thriller night

'Cause I can thrill you more than any ghost would ever dare try

Thriller, thriller night

So let me hold you tight and share a

Killer, diller, chiller, thriller here tonight

'Cause this is thriller, thriller night

Girl, I can thrill you more than any ghost would ever dare try

Thriller, thriller night

So let me hold you tight and share a killer, thriller, ow!

(I'm gonna thrill ya tonight)

Darkness falls across the land

The midnight hour is close at hand

Creatures crawl in search of blood

To terrorize y'alls neighborhood

I'm gonna thrill ya tonight, ooh baby

I'm gonna thrill ya tonight, oh darlin'

Thriller night, baby, ooh!

The foulest stench is in the air

The funk of forty thousand years

And grizzly ghouls from every tomb

Are closing in to seal your doom

And though you fight to stay alive

Your body starts to shiver

For no mere mortal can resist

The evil of the thriller

'Thriller' 
full album:

All tracks produced by Quincy Jones except where noted.

Side one

1. "Wanna Be Startin' Somethin'" (Michael Jackson)     6:04

produced by Quincy Jones and Michael Jackson

2. "Baby Be Mine" (Rod Temperton) 4:21

3. "The Girl Is Mine" (featuring Paul McCartney) (Jackson)  3:43

produced by Quincy Jones and Michael Jackson

4. "Thriller" (featuring Vincent Price) (Temperton)   5:58

Side two

5. "Beat It" (featuring Eddie Van Halen) (Jackson)  4:18

produced by Quincy Jones and Michael Jackson

6. "Billie Jean" (Jackson)   4:54

produced by Quincy Jones and Michael Jackson

7. "Human Nature" (Steve Porcaro, John Bettis)  4:07

8. "P.Y.T. (Pretty Young Thing)" (James Ingram, Quincy Jones)  3:58

9. "The Lady in My Life" (Temperton) 4:59

lose yourself

Eminem poured his inner city hardship into the biggest success of his career with this anthem to self-respect written during the production of '8 Mile'. 'Lose Yourself' was co-produced by Marshall Mathers, with Luis Resto and Jeff Bass. The song was recorded in one take during a break from the shooting of the film at a portable studio on set.

He was determined to write an original song for the film from the perspective of his character Jimmy "B-Rabbit" Smith Jr.. Mathers says '8 Mile' was based on his own experience: "There's some things that were taken out of my real life story. Some things that I didn't even discuss on record. I've had a lot of stuff happen in my life that not everyone knows about. I can't tell everything in my music. So there are some instances that are taken out of my life and there are some that are completely fictional and just made up. 'Cause I'm not playing me in the movie, but I'm playing someone like me. He's gotta be like me. He comes from this area, he grew up on 8 Mile. Both sides of the fences. He's seen everything, he's lived everything...I was looking to make an authentic movie about the place I grew up. Not necessarily about me, but the authenticity and significance. I think every city has its own 8 Mile Road or places like it...I wanted to blow up Detroit, that's what I wanted to do. If I ain't done it by now, goddamnit, let me leave."


'Lose Yourself' found its way to the peak of the charts in Australia, Austria, Belgium, Denmark, Finland, Greece, Hungary, Ireland, Italy, the Netherlands, New Zealand, Norway, Romania, Sweden, Switzerland, the UK, and spent twelve weeks at the top of the US pop chart. The song received five Grammy nominations, including Record of the Year and Song of the Year, winning Best Male Rap Solo Performance and Best Rap Song. 'Lose Yourself' became the first rap song to win the Oscar for Best Song From A Movie. It is the most successful song to have ever won the award. 

http://www.eminem.com/

Look, if you had, one shot
Or one opportunity,
To seize everything you ever wanted
In one moment
Would you capture it, or just let it slip?

His palms are sweaty, knees weak, arms are heavy
There's vomit on his sweater already: mom's spaghetti
He's nervous, but on the surface he looks calm and ready
To drop bombs, but he keeps on forgetting
What he wrote down, the whole crowd goes so loud
He opens his mouth but the words won't come out
He's choking, how? Everybody's joking now
The clock's run out, time's up, over - blaow!
Snap back to reality, oh! - there goes gravity
Oh - there goes Rabbit, he choked
He's so mad, but he won't
Give up that easy nope, he won't have it
He knows, his whole back's to these ropes
It don't matter, he's dope
He knows that, but he's broke
He's so stagnant, he knows
When he goes back to this mobile home, that's when it's
Back to the lab again, yo, this whole rhapsody
He better go capture this moment and hope it don't pass him

You better lose yourself in the music, the moment
You want it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime

The soul's escaping through this hole that is gaping
This world is mine for the taking
Make me king, as we move toward a New World Order
A normal life is boring; but superstardom's
Close to post-mortem, it only grows harder
Homie grows hotter, he blows it's all over
These hoes is all on him, coast to coast shows
He's known as the Globetrotter
Lonely roads, God only knows
He's grown farther from home, he's no father
He goes home and barely knows his own daughter
But hold your nose cause here goes the cold water
These hoes don't want him no mo', he's cold product
They moved on to the next schmoe who flows
He nose-dove and sold nada. And so the soap opera
Is told, it unfolds, I suppose it's old, partner
But the beat goes on: da-da-dum da-dum da-dah

You better lose yourself in the music, the moment
You want it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime

No more games, I'mma change what you call rage
Tear this motherfuckin' roof off like two dogs caged
I was playin' in the beginning, the mood all changed
I've been chewed up and spit out and booed off stage
But I kept rhyming and stepped right in the next cipher
Best believe somebody's paying the Pied Piper
All the pain inside amplified by the
Fact that I can't get by with my nine to
Five and I can't provide the right type of
Life for my family, cause man, these God damn
Food stamps don't buy diapers, and there's no movie
There's no Mekhi Phifer, this is my life
And these times are so hard, and it's getting even harder
Tryin' to feed and water my seed plus, teeter-totter
Caught up between being a father and a prima donna
Baby momma drama, screaming on her too much for me to wanna
Stay in one spot, another day of monotony
Has gotten me to the point, I'm like a snail I've got
To formulate a plot, or end up in jail or shot
Success is my only motherfuckin' option, failure's not
Mom I love you but this trailer's got to go
I cannot grow old in Salem's Lot
So here I go it's my shot. Feet: fail me not
This may be the only opportunity that I got

You better lose yourself in the music, the moment
You want it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime

You can do anything you set your mind to, man

At the Grammy's with The Roots

i will always love you

 Whitney Houston had the biggest hit of her career and one of the biggest of all time with her dramatic gospel cover of this heartfelt country song written by Dolly Parton. Parton says 'I Will Always Love You' was inspired by her mentor and duet partner Porter Wagoner:    "Of course, 'I Will Always Love You' is the biggest song so far in my career. I'm famous for several, but that one has been recorded by more people and made me more money, I think, than all of them. But that song did come from a true and deep place in my heart.  I was trying to get away on my own because I had promised to stay with Porter's show for five years. I had been there for seven.  And we fought a lot. We were very much alike. We were both stubborn. We both believed that we knew what was best for us. Well, he believed he knew what was best for me, too, and I believed that I knew more what was best for me at that time. So, needless to say, there was a lot of grief and heartache there, and he just wasn't listening to my reasoning for my going.  I thought, 'He's never going to listen. He's just going to bitch every day that I go in to talk about this.' So I thought, 'Well, why don't you do what you do best? Why don't you just write this song?' Because I knew at that time I was going to go, no matter what. So I went home and out of a very emotional place in me at that time, I wrote the song, 'I Will Always Love You.'... It's saying, 'Just because I'm going don't mean I won't love you. I appreciate you and I hope you do great and I appreciate everything you've done, but I'm out of here. [That's] basically what I was saying. And I took it in the next morning. I said, 'Sit down, Porter. I've written this song, and I want you to hear it.' So I did sing it. And he was crying. He said, 'That's the prettiest song I ever heard. And you can go, providing I get to produce that record.' And he did, and the rest is history."

Bob Ferguson produced the song for Parton's 'Jolene' album and the single went to the top of the country chart in June of 1974. When it was re-released in 1982, it went to the top of the country chart again. 

Ten years later, Whitney Houston covered the song for the soundtrack to her film debut 'The Bodyguard'.  Her version was produced by Clive Davis and David Foster and recorded with her touring band.  The record executives didn't think her vocal arrangement with the acappella intro would be a hit; but she stuck to her guns and the song was released in that form.  

'I Will Always Love You' only took two weeks to become Houston's tenth chart topper.  It spent fourteen weeks at number one on the US pop chart, breaking the record just set by Boyz II Men with 'End of the Road'.  The single also went to number one in Australia, Austria, Belgium, Canada, France, Germany, Ireland, Italy, the Netherlands, New Zealand, Norway, Spain, Sweden, Switzerland, the UK, and the US adult contemporary and R&B charts.  It won Grammys for Record of the Year and Best Female Pop Vocal Performance.  After Houston's death in February of 2012, the song charted once again, going to the top ten all over the world.  'I Will Always Love You' has sold over twelve million copies worldwide. 







http://www.whitneyhouston.com/












If I should stay
Well, I would only be in your way
And so I'll go, and yet I know
That I'll think of you each step of my way
And I will always love you
I will always love you
Bitter-sweet memories
That's all I have, and all Im taking with me
Good-bye, oh, please don't cry
Cause we both know that Im not
What you need
I will always love you
I will always love you
And I hope life, will treat you kind
And I hope that you have all
That you ever dreamed of
Oh, I do wish you joy
And I wish you happiness
But above all this
I wish you love
I love you, I will always love

I, I will always, always love you
I will always love you
I will always love you
I will always love you

 

magical mystery tour

The Beatles took a psychedelic bus trip even further away from guitar rock and made a trippy film about it.  The recording of the music for 'Magical Mystery Tour' began only days after the completion of 'Sgt. Pepper's Lonely Hearts Club Band' with the bulk of the sessions taking place at Abbey Road Studios in London, although they did some work at Olympic, De Lane Lea, and Chappell when they couldn't get into Abbey Road.  

The sound showed them continuing the experimentation with diverse instrumentation that they had embraced on 'Sgt Pepper' with John Lennon on vocals, guitar, acoustic and electric pianos, mellotron, organ, clavioline, and harmonica;  Paul McCartney on vocals, bass, piano, mellotron, and recorder;  George Harrison on vocals, guitar, organ, and harmonica;  and Ringo Starr on drums and percussion;  with George Martin on piano;  Mal Evans and Neil Aspinall on percussion;  Stanley Woods, Leon Calvert, Freddy Clayton, Bert Courtley, Duncan Campbell, Tony Fisher, Greg Bowen, Derek Watkins, Stanley Roderick, David Mason, Elgar Howarth, Roy Copestake, and John Wilbraham on trumpets;  Ray Swinfield, P. Goody, Manny Winters, Dennis Walton, Christoper Taylor, Richard Taylor, and Jack Ellory on flutes;  Patrick Halling, Eric Bowie, Jack Holmes, Sidney Sax, Jack Rothstein, Ralph Elman, Andrew McGee, Jack Greene, Louis Stevens, John Jezzard, and Jack Richards on violins;  John Hall, Derek Simpson, Norman Jones, Lionel Ross, Eldon Fox, Brian Martin, and Terry Weil on cellos;  Evan Watkins, Henry Spain, Neill Sanders, Tony Tunstall, and Morris Miller on horns;  Rex Morris and Don Honeywill on sax;  Jack Emblow on accordion;  Ken Essex and Leo Birnbaum on violas;   Dick Morgan and Mike Winfield on English horns; Frank Clarke on double bass;  David Mason on piccolo trumpet;  Eddie Kramer on vibraphone;  and Mick Jagger, Keith Richards, Marianne Faithfull, Keith Moon, Eric Clapton, Pattie Boyd Harrison, Jane Asher, Mike McCartney, Maureen Starkey, Graham Nash, Gary Leeds, Hunter Davies, Peggie Allen, Wendy Horan, Pat Whitmore, Jill Utting, June Day, Sylvia King, Irene King, G. Mallen, Fred Lucas, Mike Redway, John O'Neill, F. Dachtler, Allan Grant, D. Griffiths, J. Smith, and J. Fraser on backing vocals.  

The band's ambitious arrangements pushed the boundries of what was technically possible with four track recording.  Producer George Martin worked with engineers Geoff Emerick and Ken Scott to create complex sound collages utilizing the same "bouncing down" method as on 'Sgt Pepper' where they would copy and combine tracks to make room for more overdubs.  Every song required this process.  

The movie was unscripted and filmed over two weeks in September of 1967 when the music was already completed.  While the actual film was panned by critics, the album fit very well into their ouvre.  In the UK, the soundtrack was released as two EP's with three songs on each.  In the US, it was released as an album with the six songs from the EP on side one and all of the band's singles from 1967 on side two, including 'All You Need Is Love',  'Strawberry Fields Forever' and 'Penny Lane'.  'Magical Mystery Tour' found its way to thirty-one in the UK; thirteen in Norway; and number one in Australia, Germany, and the US.  It continued to chart off and on until 1970.  







http://www.thebeatles.com/






trailer:












'Magical Mystery Tour'

'I Am the Walrus'
Lennon revealed:  "The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko. Part of it was putting down Hare Krishna. All these people were going on about Hare Krishna, Allen Ginsberg in particular. The reference to 'Element'ry penguin' is the elementary, naive attitude of going around chanting, 'Hare Krishna,' or putting all your faith in any one idol. I was writing obscurely, a la Dylan, in those days. It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem. It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter...'"


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 think 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



I Am the Walrus from Long Tran on Vimeo.








'The Fool on the Hill'
McCartney says:  "'Fool On The Hill' was mine and I think I was writing about someone like the Maharishi. His detractors called him a fool. Because of his giggle he wasn't taken too seriously... I was sitting at the piano at my father's house in Liverpool hitting a D6 chord, and I made up 'Fool On The Hill.'"

Day after day,
Alone on a 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 'round.

Tous les clips The Beatles

'Blue Jay Way'
Harrison remembered:  "Derek Taylor got held up. He rang to say he'd be late. I told him on the phone that the house was in Blue Jay Way. And he said he could find it okay... he could always ask a cop. So I waited and waited. I felt really nackered with the flight, but I didn't want to go to sleep until he came. There was a fog and it got later and later. To keep myself awake, just as a joke to pass the time while I waited, I wrote a song about waiting for him in Blue Jay Way. There was a little Hammond organ in the corner of this house which I hadn't noticed until then... so I messed around on it and the song came."

Please don't be long...

Tous les clips The Beatles

'Flying'
McCartney considers:  "'Flying' was an instrumental that we needed for (the film) 'Magical Mystery Tour' so in the studio one night I suggested to the guys that we made something up. I said, 'We can keep it very, very simple, we can make it a 12-bar blues. We need a little bit of a theme and a little bit of a backing.' I wrote the melody, otherwise it's just a 12-bar backing thing. It's played on the mellotron, on a trombone setting. It's credited to all four (Beatles), which is how you would credit a non-song."



FLYING-HD - The Beatles - Alvarortega from ALVARORTEGA on Vimeo.

Tous les clips The Beatles

'Your Mother Should Know'


Your Mother Should Know from Tom Stillwell on Vimeo.

'Magical Mystery Tour'
full album:





All tracks written by Lennon–McCartney except where noted. Lead vocals listed.

Side one: Film soundtrack
1. "Magical Mystery Tour"   Paul McCartney with John Lennon 2:48
2. "The Fool on the Hill"   Paul McCartney 3:00
3. "Flying" (Lennon/McCartney/Harrison/Starkey) (Instrumental) 2:16
4. "Blue Jay Way" (Harrison) George Harrison 3:50
5. "Your Mother Should Know"   Paul McCartney 2:33
6. "I Am the Walrus"   John Lennon 4:35
Side two: 1967 singles
1. "Hello, Goodbye"   Paul McCartney 3:24
2. "Strawberry Fields Forever"   John Lennon 4:05
3. "Penny Lane"   Paul McCartney 3:00
4. "Baby, You're a Rich Man"   John Lennon 3:07
5. "All You Need Is Love"   John Lennon 3:57