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4.23pm
6 July 2020
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Into the Sky with Diamonds said
@edwardtheconfessorAnd at the end of Being FTBOMK, there’s a great, subtle, short little melody in the background that I think plays twice. Love it.
Thank you Into the Sky With Diamonds … I’ll have to check that one out. Are you, perhaps, referring to that intriguing little – rising ptich – musical ‘gurgle’ (as I call it) right at the end… which rounds it out so appropriately? By the way; Martin said, in the same interview, that he had been aimining at the sound of a caliope here. I am – have always been – a keyboards player, as I said, but … though who am I to argue with the maestro himself ?- yet I do know that a caliope is actually a kind of STEAM mechanical organ.. with huge metal boiler-like pipes. ‘Hissy’ and very deep! They are real vintage jobs – played as they were by the same steam engine that drove a carousel ride usually. I know how these sound – and that is not (quite) the kind of sound that appears to be in any of these effects – intruiging though they are indeed! Others care to opine here?
"And, in the end; the love you take - is equal to the love YOU MAKE!" "Nowhere Man, THE WORLD is AT YOUR COMMAND!"
5.47am
6 July 2020
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HammerDealer said
skye said:What I never understood about Michelle is why he wouldn’t just learn how to say I love you (je t’adore, yes?) in French, rather than pointing out that ‘Michelle ‘ and ‘belle’ rhyme.
(Je t’aime would be more accurate, even though it also means I like you, I know french is weird.)
Or he could have had simply Je t’aime en amour! (But perhaps he thought that ‘They are of love so good, very well -TOGETHER’ (my own loose translation, by the way. I think you may find that the syntax works much better in the French!): that this sounded more romantic?). Do you think so? 
Oh, and PS (no, not ‘PS – I Love You’ in this case!): Je t’aime en amour would have been too few syllables, and would neither have filled up the line, nor – I was going to say – would it have rhymed, but it doesn’t rhyme with any other line anyway, does it?
PPS: Don’t want to get right off topic here for this thread: but, since this has cropped up here, anyway, I feel I really ought to put in further on this one:-
Paul was said to have spoken both (schoolroom!) French and Spanish? But how well did he really speak either? I recall as a very young teenage fan myself, reading a kind of fanzine about The Beatles (back in 1964) and it was supposed to have been based – with photo-captions – on a typical day. It seems that all four of them had an Italian shopkeeper in London, completely flustered by their scouse accents and dialect. Apparently, Paul’s knowledge (again, I ask: how good was that really?) of these two Latin langauges did not help! As a moderate Italian speaker myself, I know that, for example, there are **some** similarities with Spanish (**SOME** I say!) and, in any case, even in those days, most Italians could – as they do now – speak and understand a little French. I know this also, because I myself, in the late 60s, had an Italian girlfriend. It was how and why I learned her langauage (plus a little French myself!)
PPPS: On ‘Here Comes The Sun King’, there are a several whole lines of it which sound a little like some kind of cross between Spanish and Italian and ?? – and The Beatles themselves later admitted that it was an entirely made-up language! If Paul really could speak French and Spanish: why did they not simply put in a few lines of one of these? Why go to all the bother of making up some fictitous langauge? For the sheer Hell of it, perhaps???
"And, in the end; the love you take - is equal to the love YOU MAKE!" "Nowhere Man, THE WORLD is AT YOUR COMMAND!"
9.03am
6 July 2020
Offline Back on subject of instrumentals and instrumental phrasing and similar:-
Do others agree that the lead guitar phrasing rght at the tag end of ‘She’s So Heavy‘ (if my memory serves me correctly here?) was later (or previously?) used by Eric Clapton (then of the band Cream) as the melody of the ‘middle 8’ on Cream’s ‘Badge’?? It is known that Geroge Harrison around that time was working – informally – with Clapton, and they became friends, and remained so (even despite Patty Boyd falling for him and leaving George?) and Cream themselves acknowledge in the credits for ‘Badge’ – ‘l’angelo misterioso’ (‘the mysterious angel’) on lead guitar… which most music historians take as a credit to George Harrison … or was it the other way around (i.e. ‘ l’angelo misterioso’ – Eric Clapton(?) acknowledged on ‘Abbey Road ‘?). We do know that George was already beginning to ‘guest’ with other musicians (like Clapton – and especially after the break-up of Cream, for example) – and we know that, after the Beatles themsleves broke up, Geroge kept very much alive, and for years after, these kinds of links (even long after all that; and with The Travelling Willbury’s and so on), and he did a lot more of ths, in fact, than he did of solo work actually.
In my own group, for a time we had a girl bass guitarist (and occasional vocalist) who was a keen follower of events in the contemprary rock and pop scene (she was with us in 1970) and she always insisted that “Clapton wrote it” (those guitar riffs) “but Harrison played it'” I’m not sure the rest of us ever – respectfully – agreed with her on that point (not that this disagreement over such detail had any effect at all on our working together with her, musicallly I mean; I’m happy to say). But was she right?? Again; or was it the other way about (i.e. Harrison wrote, but Clapton played it?). Myself; I would have to say that I always doubted that either was the case. I think it was ALL George Harrison … and maybe Clapton used it as the melodic (and vocal melody) line on middle 8 of ‘Badge’ as some sort of musical tribute to his freind and fellow musician??
If there are others on here who have better facts- and maybe more accurate memories, than I – on all this; then I would welcome any clarificaton here.
"And, in the end; the love you take - is equal to the love YOU MAKE!" "Nowhere Man, THE WORLD is AT YOUR COMMAND!"
