MUSIC MONDAY The Beatles Anthology 5 Shea Stadium New York 15th August 1965


You may be interested in links to the other posts I have done on the Beatles and you can click on the link below: FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 288, LINKS TO 3 YEARS OF BEATLES POSTS (March of 2015 to Feb of 2018) Featured artist is Mark Dion

Ladies and gentlemen

Honoured by their country
decorated by their Queen
and loved here in America…
Here are the Beatles!
Shea Stadium New York 15th August 1965
Thank you very much. We’d like to carry on now
with a song which was one of our records a few months ago
This song is called I Feel Fine
I never felt people came to hear our show
I felt they came to see us
Because from the count-in on the first number
the volume of screams
would just drown everything out
Vox made us special big amplifiers for that tour
They were 100 watts
We went up from the 30 watt amp to the 100 watt amp
Neil Aspinall Tour Manager That was miked up, I think, to the big speakers round Shea Stadium
so the audience weren’t necessarily listening to the sound from the stage
They were listening to what was coming from the PA system
We were just working off the normal columns, which were…
So it can’t have sounded too good
Can you hear me?
We’d like to do a slow song now
It’s also off ‘Beatles VI’ or something. I don’t know what it’s off
I haven’t got it
It’s a waltz, this one. Remember that
Anyway, the song’s called, hopefully enough… aah, look at her!
It’s called Baby’s in Black
The next song we’d like to sing…
John was having a good time. He was into his comedy, which was great
The great thing about John, if there was ever a tense show –
which that undoubtedly was –
you can’t play to that many people for the first time and not be tense –
his comedy would come in and he’d start the faces
The shoulders would start going and it was very encouraging
because at least we’re not taking it seriously
If you look at that footage and see how we are acting
or reacting to the place
it’s very big, it’s very strange
I feel that on that show
John cracked up, just went mad
Not mentally ill, just got crazy
If you see him, he’s playing the electric piano with his elbows
It was a really strange thing
We did I’m Down
I did the organ on the record and decided to play it on stage for the first time
I felt naked without a guitar and George couldn’t play for laughing
I was doing it for a laugh
It was marvellous, the biggest crowd we’d ever played to
The biggest live show that I think anybody’s ever done
and it was fantastic
That was a good experience, the first really big open air…
“Wow, look at this!” you know
I didn’t think about it like that at the time
I personally didn’t realise that it was the first really big open air…
You know, 55000 people
Even now it’s a big crowd, 56000
But then-it’s like old money – it seemed like millions of people
60000 people
They told me it was 70
On one or another trip, we met Elvis
It was one of the highlights of our visit
but by the time we’d got near his house we’d forgotten where we were going
We were in this Cadillac limousine
You know, in LA, everything goes round and round and round
Then I think we were going along Mulholland…
We had a couple of cups of tea in the back of the car
By the time we got to Elvis’s house we forgot where we were going
It didn’t really matter where we were going
Bel Air, actually. The meet was arranged and we were going to see him
I was pretty excited about it all and then we arrived
We pulled up at these big gates – we’re going to see Elvis!
We all fell out of the car, just like in a Beatles cartoon
All in hysterics… trying to pretend we weren’t… silly
In the house, Elvis was sitting on a couch, playing a Fender bass –
plugged in an amplifier – watching the TV
And it was “Oh, there’s Elvis”
It was Elvis. He just looked like Elvis
He was the King, wasn’t he? It was Elvis
This is Mr Hips, you know. Hip-swivelling man!
Wow, you know, that’s Elvis!
He was playing Mohair Sam all evening
He played it endlessly on a jukebox. It was the record of the moment for him
So it was great to see he’s a music fan, he’s not just…
because that was one of our big records of the moment too
He had a TV going all the time, which is what I do anyway
In front of the TV, he had a massive Fender bass amplifier
with a big bass plugged in it
He was playing bass all the time with the picture up on the TV
so we just got in there and played with him
We plugged in whatever was around and we all played and sang
I never jammed with Elvis at all
John said he’d… – John jammed with Elvis
It must have been when we went out of the room
I think it was because he had a bass there, so I thought…
So I thought you know… bass, hey, this is interesting
Ringo played football with him – Yeah, I played football with Elvis
Round about 10 or 10.30…
Priscilla was brought in
She had a long thing on… and a tiara
I’ve got this picture of her like… as a sort of Barbie doll
with kind of purple gingham and a gingham bow in her very beehive hair
I spent most of the party trying to suss out if anybody had any reefer
I think it wouldn’t have mattered to me if she was there
Because it was him I came to see
I don’t remember the boys he had with him
All his gang-the Memphis Mafia or whatever they call them
He was surrounded by these sycophants
“I’m going to the loo now.” “OK, Elv, we’ll go with you.” Strange
I was so angry that he wasn’t making any music, as he should have been
We were asking about this, just making movies
and not doing any personal appearances or TV
I think he enjoys making movies so much
If we don’t do personal appearances, we get bored quickly
He says he misses it a bit
He was great, just how I expected him
It just sort of faded out, you couldn’t get close
It’s not like we could have become good friends, it was impossible
We weren’t buddies or anything, but he was really nice
He was a nice guy, he was very slim, you know
He was really good. I’m glad I met him
It was one of the great meetings in my life
The saddest part is now, years and years later
we found out that he tried to have us banished from America
because he was very big with the C.I.A. and everything
It’s very sad to me that he felt so threatened
That he thought, like a lot of people, that we were bad for American youth
In ’62 we were touring in a van and people were laughing at us
That’s how our careers started. They were laughing at us in Scotland
Then they got interested and got to really listen and like us
Then this screaming thing started
They used us as an excuse to go mad
The world did, then blamed it on us
We were just in the middle, in a car or hotel room. We couldn’t do much
We couldn’t go out, we couldn’t do anything
For us it was a drag – we knew they wouldn’t hear anything
because it’s just like a riot, not like a show
It felt dangerous because everybody was out of hand
Even the cops were just caught up in the mania
It was like they were this big movie
We felt trapped in the middle while everybody else was going mad
We were actually the sanest people in the whole thing
The realisation was kicking in that nobody was listening
That was OK in the beginning
but even worse than that is that we were playing so bad
We were now a big band. When we went ‘Whooahh’ and shook our heads
everyone went mad
I don’t really think it was that bad
I was playing just shit
all I could do was… hold down the off-beat
I couldn’t come off that, really
because if you went to do anything on the toms, it was just nothing
There was no noise
I just felt that we were playing really bad
I’d joined the Beatles because they were the best band in Liverpool
I wanted to play with good players and that’s what it was all about
First and foremost, we were musicians
George Martin Record Producer Their musical creativity showed no signs of flagging
On the contrary, they were becoming more and more productive
The work they were giving me was much more interesting
They were finding new frontiers all the time
Our whole attitude was changing
We’d grown up a little
I think grass was really influential in a lot of our changes
Especially with the writers
Because they were writing different stuff, we were playing differently
We were all expanding in all areas of our life
opening up to a lot of different attitudes

The Beatles Anthology 5 [Legendado/Parte 2] HD

The direction was changing away from the Thank You Girl poppy stuff
the early stuff – From Me to You, She Loves You
All the early stuff was directly relating to your fans
kind of saying, please buy this record
Thank You Girl, PS I Love You, it was all very that
There came a point where we’d done enough of that and branched out
into songs that are a bit more surreal, more entertaining
Other people were arriving on the scene who were a little bit influential
I don’t really know whether we’d been influenced
Dylan was starting to influence us quite heavily at that point
When it got sort of contemporary as it were, a contemporary influence
I think Rubber Soul was about when it started happening
It was just around that period
when we were all getting into different kinds of music
George’s became Indian
We were all listening to classical music and various types of music
other than our own and our rock’n’roll roots
and George moved into the Indian thing
He’d give you a better explanation of just when it was
During the filming of Help!
there were some Indian musicians in a restaurant scene
and I kind of messed around with the sitar then
During that year, towards the end of the year
I kept hearing the name Ravi Shankar. I heard it about three times
About the third time I heard it, a friend of mine said:
“Have you heard Ravi Shankar?”
So I went out and bought the record
and that was it, I just felt…
It felt very familiar to me to listen to that music
It was around that time I bought a sitar
I bought a cheap sitar in a shop called India Craft in London
It was lying around. I hadn’t figured out what to do with it
When we were working on Norwegian Wood it just needed something
and it was quite spontaneous, from what I remember
I just picked up the sitar, found the notes and just played it
We miked it up and put it on and it just seemed to hit the spot
They were getting more and more interested in unusual sounds
They were trying out new instruments and saying to me:
“What ideas have you got for this?”
Yesterday had been the first time we used other instrumentalists on records
The only person who’d played with them before was me
Now we had a group of other musicians
so we weren’t averse to using other people or other sounds
Rubber Soul was an indication of the way things were going. A great album
That’s my favourite-at the time I think it was the best we’d made
We certainly knew we were making a good album
You know the cover, the photo where we looked stretched
That was the kind of thing that we were all very into
That kind of random little exciting thing that would happen
The photographer, Bob Freeman, had taken pictures at John’s house
We just had our new gear on, the polo necks
We were doing straight mug shots, four of us all posing
Back in London, he was in someone’s flat
He was showing us a little carousel of slides
and he had a piece of cardboard that was album cover size
He was projecting the photographs on to it, planning an album cover
We’d just chosen the photo. We said “That one looks good”
We all liked ourselves in one particular shot
and he was just winding up when the card it was on fell back a bit
It elongated the photo and we went “Can you do it like that?”
He said “Yeah, I could print it like that” so we thought, that’s it… Rubber Soul!
So there’s no great mysterious meaning behind all of this
It was just four boys working out what to call their new album
I don’t see too much difference in Rubber Soul and Revolver
To me, they could be volume one and two
Maybe I’m wrong, I haven’t played them right back to back
but they were both very pleasant and enjoyable records for me
It has that quality because it’s the follow on
and we were just starting to really find ourselves in the studio
You know, what we could do, which was…
over just being four of us playing our instruments and the vocals
Their ideas were beginning to become much more potent in the studio
They started to tell me what they wanted and would press me for ideas
More ways of translating those ideas into reality
We’d be well into the album and we knew I’d be doing a number somewhere
We’d say “Have you got a song?” or “We’ve got this for you”
I thought it might not be a bad idea…
rather than giving him a very serious song
because he wasn’t that keen on singing
I remember the idea coming up just before going to sleep
That little twilight moment when silly ideas come into your head
I just thought of Yellow Submarine
By then, I’d started writing myself
but it was hard to bring your songs in when you had Lennon and McCartney
It was a bit of a joke because I’d bring these songs I’d written
and they’d laugh because I’d re-written an old standard again
I was great at re-writing Jerry Lee Lewis songs
I didn’t have many songs. They were more or less the ones I had written
I’ve always had a couple I was working on or thinking about
and in the later years I did have a huge backlog
but in the mid-60s I didn’t have too many
George went through the same problem as I did with his first songs
but that didn’t last long
Then we started coming up with great songs. Which one of us was on Revolver?
That was the point where you discover you’re not actually…
you’re paying more money to the taxman…
You’re so happy that you’re finally earning money, then you find out…
In those days we paid 19s.6d. out of every û1
There were 20 shillings in û1
That was with super-tax, surtax and tax-tax and stuff
It was ridiculous
A heavy penalty to pay for making money
It was on Revolverthat we have the track Tomorrow Never Knows
which was a great innovation
That’s me in my Tibetan Book of the Dead period
and the expression Tomorrow Never Knows was another of Ringo’s
I was self-conscious about the lyrics of Tomorrow Never Knows
so I took one of Ringo’s malapropisms like Hard Day’s Night
to take the edge off the heavy philosophical lyrics
John had a song which was all on the chord of C
which we thought a perfectly good idea, like Indian music is all on one chord
I wondered how George Martin would take it-it was a radical departure
At least we’d had three chords and maybe a change for the middle eight
Suddenly this was just John strumming on C rather earnestly
In those days there was no technology like there is now
There were two guitars, bass and drums, and that was it
If we did stuff in the studio with the aid of recording tricks
then we couldn’t just reproduce them on stage
Nowadays you could do Tomorrow Never Knows, have all the loops on a keyboard
You could have as many pianists, drummers and orchestras as you wanted
But in those days we were just a little dance hall band
and we never thought of augmenting ourselves
The hard stuff was the complicated harmonies, hard to do live on stage
Like for instance Nowhere Man
Nowhere Man was OK, wasn’t it? – It was OK, but it was hard
Circus Krone Munich
Somewhere between albums and tours… I had a dentist, anyway…
One night, John and his wife Cynthia
and Patti and myself were having dinner at this guy’s house
This fellow, for some reason or other,
had obtained lysergic acid diethylamide 25
which at that time was not illegal
It was a legally obtained medication
But we didn’t really know about it
I seemed to recall that I’d heard vaguely about it
but I didn’t really know what it was
He just put it in our coffee
He didn’t know what it was, just…
It’s the thing with middle class London swingers who’d heard about it
They didn’t know it was different from pot or pills and they gave us it
He advised us to stay. We thought it was for an orgy and we didn’t want to know
It became a bit seedy to me
As if he was trying to get something happening in his house
There was some reason he didn’t want us to go
Then he said “Leave your car here, I’ll drive and you can come back later”
I said “No, we’ll go in my car,” and we drove. This guy came as well, in his car
We got to the nightclub
We were just insane. We all thought there was a fire in the lift
Just a little red light and we were all screaming, all hysterical
We went up to the floor where the discotheque was
The door opens and we all go aaaaaah!!
We felt lke the elevator was on fire or we were going into hell or something
We were all in hysterics, crazy
Then we got out at the top and everything was OK
We sat there, probably for hours, and I ended up driving everybody home
It was daylight and I was driving a Mini with John, Cynthia and Patti
I seem to remember we were doing 18 miles an hour
And I was really concentrating
Some of the time it just felt normal
then suddenly it was all crazy
I really was frightened of that kind of stuff
When you’re young, you’re taught… watch out for them devil drugs
So when acid came round, we’d heard that you’re never the same
It alters your life and you never think the same again
I think John was rather excited by that prospect. I was rather frightened
I thought this could mean that I’d never get back home
Oh geez, you know. It may not be the greatest move
So I delayed and was seen to stall a bit within the group –
because there was a lot of peer pressure
Day Tripper– That was a drug song, I just liked the word
The last Saturday Club show… We’ll ever do…
The last Saturday Club before Christmas, we’d like…
to wish everybody a very happy Crimble from all of us
and thank everyone who sent cards this week and all the other weeks
I hope you all have a happy Christmas and a very happy New Year
Nice of you to drop in today, ladsOh, we weren’t doing anything
Not at all, Brian. Like you said, Merry Christmas to you
We can’t ask you to work todayNo, it’s not allowed
We’ll play your record. Does it matter which side we play?
We Can Work It Out
Well, sort it out amongst yourselves then
Have you got it? Yeah, I’m putting it on now
Here goes the needle on the record
Well, the mania was…
As we’ve said, it was pretty difficult to get around
Out of convenience, we decided we were not going to go in
Going to the TV studios to promote our records was too much of a hassle
We’ll just make our own little films and we’ll put them out
What was happening…
We really couldn’t fit in all the live television shows
that people wanted us to do round the world: Shindig, Ed Sullivan Show
Top of the Pops, Thank Your Lucky Stars and stuff in France, Germany, etc.
So to accommodate those people
we decided that if we just made – we call them promo films –
a promo film of the individual songs
and sent that to TV stations around the world
That would fulfil their obligation, or that would do the job
The idea was that we didn’t have to go out
We thought this was a great idea, to send the movies, the film
We didn’t call them videos, they were just going on TV
We thought this was a great ruse
Let’s do these and we can stay home
Ladies and gentlemen, here’s a feature taped for us in England
by Ringo Starr, Paul McCartney, John Lennon and George Harrison
Hello, Ed, how are you?
I’m sorry we can’t be there in person to do the show
but everybody’s busy these days, with the washing and the cooking…
We hope you like it. One’s called Rain and one’s called Paperback Writer
The idea was to send them to America because we can’t go everywhere
We’ll send these things out to promote the record
These days, everybody does that
It’s just part of your promotion for a single
so I suppose in a way we invented MTV
That’s the first record with backwards music on it
Haneda Airport Tokyo 30th June 1966
This is a thing we never really talked about
Everywhere we were going in those days, it was a demonstration of something
Riots were happening
Plus people were demonstrating because the Budokan
was supposed to be a spiritual hall reserved for martial arts
Some Japanese say that your performances will violate the Budokan
which is devoted to traditional Japanese martial arts
and you set a bad example to Japanese youth
by leading them astray from traditional Japanese values. What do you think?
If a dancing troupe from Japan goes to Britain
nobody tries to say they’re violating traditional laws
or that they are trying to spoil anything
We’re singing here because we’ve been asked to
I’d rather watch singing than wrestling anyway
We’re not trying to violate anything
and we’re just as traditional anyway
In any town we went to, someone always had a grievance
Something was wrong
We were locked up in the hotel for a long time with merchants coming round
and showing us ivory and stuff like this
People go to Tokyo and do shopping. We couldn’t get out of the hotel
I once tried to get out but a policeman ran after me. I did actually do it…
Paul and maybe Ringo got out one day and got in a taxi
The police caught them and made them go back to the hotel
But John and I actually got out
We made it down to the local market and it was great
We were looking at things and buying things
Then the police came and got us and said “Naughty boys!”
We were only allowed out at the time for the concert
when it was worked out like a military manoeuvre
“At 5.30 precisely we will knock on your door”
Exactly as scheduled. Then they said “You will line up outside the room”
“At 5.32 we will leave the door”
“We will now walk to the lift”
“At 5.33 we will be at the elevator”
“The elevator takes one minute and eight to get down”
“At 5.35 we’ll be down in the car park”
Then they said “You will get in car with Mr Evans”
Then they had the seating arranged in all the cars
Amazing efficiency we’d never seen the like of in Britain
Just to be… how we were
They’d knock on the door and we’d never come out
It would just totally wreck their timing
You’d see all these guys going absolutely barmy
because we hadn’t walked down the corridor at 7.14 and a third
We knew we were doing that to them
As we went to the gig, they had the fans organised
with police patrols on each corner
so there weren’t fans haphazardly waving along the streets
They’d been herded on to corners and were allowed to wave from there
So you’d go along the street and there would be a little ‘eeekk’
You would go a few more hundred yards and ‘eeekk’
It was very strange. The audience were very nice
They’re reserved but they were up on their feet, or they tried to be
but the police had telephoto lenses all around and anybody who stood up
and looked like they might run towards the stage or something
had their photograph taken
So the people were very restricted in how they could respond to us
But it was a warm reception
It was very nice but a bit clinical
Nippon Budokan Hall
Ladies and gentlemen, let’s welcome the Beatles!
The close harmonies on things like Paperback Writerand Nowhere Man
were very hard to do on stage because it was just empty
There were no guitar notes to take it from
We had an eight-track by then, that was the problem
So we had the luxury of double tracking
Also, we were competing with the Beach Boys’ Pet Sounds and all that
I think it was around that time
All the voices were really like double tracked…
There was no way of doing it on stage really
Evening Performance 30th June 1966
You’d get to the point where it was particularly bad
Then we’d do our Elvis legs and wave to the crowd
and they’d all scream and it would cover it up
I think Paul already said that the screaming
covered a lot of worrying moments
The screams did cover a lot of of sins…
and those shows, it wasn’t there
The second show was pretty good, but the first one was a bit of a shock
You mean we actually played better in the thirty minutes we had?
Yeah, I guess so
Well, that’s probably true
Afternoon Performance 1st July 1966
I think it just started to hit everybody. I remember we had one meeting…
We were mainly talking about the musicianship going downhill
Never mind the boredom of doing it
There was always so much pressure, from the minute you opened your eyes
People trying to get at you for whatever reason
To be friends or to get an interview or to do a radio
The pressure was on from the minute you started
The Philippines was almost like a mistake from the very beginning
As soon as we got there, it was bad, bad news
I hated the Philippines
It was one of those places where you knew they were waiting for a fight
They were pushing you and, if you’d done anything, they would have…
Subtitles: Screentext

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