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Post by sandokhan on Sept 25, 2023 14:33:16 GMT -5
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Post by joseph on Sept 27, 2023 13:19:31 GMT -5
All right, you've made your point: The Beatles were never good and you're a good little boy.
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Post by sandokhan on Sept 27, 2023 14:31:48 GMT -5
For the September 4, 1962 session, The Beatles were given six songs: How Do You Do It (Mitch Murray), Love Me Do, Ask Me Why, P.S. I Love You, PLEASE PLEASE ME, and Tip Of My Tongue. Yes, Please Please Me was among the "recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)". Obviously, whoever wrote Please Please Me also penned I Saw Her Standing There, and their next two singles, From Me To You and She Loves You. In 1962 there was no Beatlemania, no Beatle haircuts: davidabedford.com/4th-september-1962-in-beatles-history-the-fab-four-love-me-dont/Most people forget the time that was spent in Germany by the Beatles (1960-1962). It was there that Adorno got a glimpse of the aspiring young guitar players, and must have been informed of EMI's plans for the band; he gave them Love Me Do to see how it goes, knowing full well that they'd be the perfect vehicle for his songs. Before Adorno gave them an arsenal of songs, The Beatles played only cover tunes, here is the setlist from February 1962: www.facebook.com/photo/?fbid=632540675543752&set=a.384468027017686You must have confused me with Teddy Boy.
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Post by sandokhan on Sept 28, 2023 0:42:17 GMT -5
Now comes the most interesting part. It was Brian Epstein who had related the entire story to the Mersey Beat reporter: Brian Epstein reported for Mersey Beat, and his story, carried anonymously at his request. He told how they had met together at Liverpool Airport at 8.15am for their flight to London.At that point in time Epstein knew for a fact that all those songs had been written "specifically" for The Beatles. "Elvis Presley And His Hundreds Of Songwriters Couldn’t Compete With John Lennon And Paul McCartney In the 1960s Elvis Presley literally had hundreds of songwriters at his disposal yet couldn’t compete with the magic that John Lennon and Paul McCartney were creating on their own during that time. You definitely had to feel bad for Elvis. When he went into the Army in the late 1950s he was the biggest rock star in the world. Yet once he got out and tried to resume the magic he had from 1954-1958 it definitely wasn’t happening. Granted he did still have some success, but nowhere near what it was in those early years. And once The Beatles and their music invaded American soil the writing was on the wall that the rules and trajectory of rock and roll music had changed. According to those close to him (like his ex wife Priscilla, and friends like Jerry Lee Lewis) it absolutely drove him nuts with jealousy not only how popular a group from Liverpool, England could become in America, but also how prolific that John Lennon and Paul McCartney were with writing hit songs with such ease. Especially since Elvis himself had to depend on others to write songs for him. That coupled with the fact that The Beatles also had two hit movies which were not only huge commercial successes but also “A Hard Day’s Night” becoming so critically acclaimed while his movie career wasn’t giving him the respect he felt he deserved as an actor and leading man." Elvis had every reason to be upset. If Elvis had hundreds of skilled songwriters next to him whose musical output was a far cry from the Beatles tunes, how in the world could two guys from Liverpool, who could neither write nor read music, who had spent three years playing in strippers clubs and who had played ONLY cover songs up to 1963, be expected to write music on the same level as that of Mozart and Beethoven? Does it make any sense at all? But Elvis didn't have to look that far off for some explanations: how could anyone believe that Brian Wilson could write songs like My Room, California Girls, when he could neither write nor read music as well: pbs.twimg.com/media/ErEih4qXAAU682R.jpgIn fact, the other members of the Beach Boys couldn't believe it either: GM: Were you surprised by Brian's sudden jump in creativity? AJ: Yeah, I couldn't figure it out. We came back from Japan, and here we had this massive amount of music already laid out for us to sing and we hadn't even heard any of it. It was the Pet Sounds material. That's really where I noticed it. Why hadn't Elvis been given Adorno songs just like the Rolling Stones, Bob Dylan, The Beatles, the Beach Boys, the Doors, Led Zeppelin, The Who and much, much more, had received? Because culturally his presence was no longer needed. After he sang the lyrics for Imagine, the new Lennon's services were no longer required. "In the early morning hours of May 7, 1965, a bleary-eyed Keith Richards awoke, grabbed a tape recorder and laid down one of the greatest pop hooks of all time: The opening riff of “(I Can’t Get No) Satisfaction.” He then promptly fell back to sleep. “When I woke up in the morning, the tape had run out,” Richards recalled many years later. “I put it back on, and there’s this, maybe, 30 seconds of ‘Satisfaction,’ in a very drowsy sort of rendition. And then it suddenly—the guitar goes ‘CLANG,” and then there’s like 45 minutes of snoring.”" Yes, just like Paul had the audacity to state that he had dreamed up Yesterday, K. Richards had the good fortune of dreaming up the opening riff of Satisfaction. It so happens that Satisfaction is a modified version of Mussorgsky's theme from Pictures At An Exhibition. Not only that, Jumping Jack Flash is a clever modification of Satisfaction as well. Day Tripper also is a modified version of the opening notes of Promenade (Pictures At An Exhibition). No one could have accomplished such a feat other than the best theoretical musician in the world at that time.
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Post by sandokhan on Sept 30, 2023 5:00:18 GMT -5
It just makes sense to me, that GM actually wrote these hits (surely with input equally injected into this topic by Adorno). When you listen to the above Dr. Mitchell's genius in the 2 minute audio comparison of the 'Lennon song' 'Because' and the Chopin work, 'Fantaisie Impromptu in C-sharp minor', it all comes into clear focus for me how deeply and successfully we've been lied to. Nobody here (or anywhere else for that matter) is asking the most important question: how in the world would Lennon know anything at all about Chopin? He couldn't even spell Chopin, let alone him knowing anything about the Fantaisie Impromptu in C-sharp minor. This is Lennon in 1969: www.facebook.com/photo/?fbid=870932237726182&set=a.200693654750047A Spaniard In The Works was written for him. In order to modify the Fantaisie Impromptu and turn it into Because you need some heavy duty knowledge of theoretical music, to actually read the notes of the piano sheet music and decades of experience in the field. GM did not write the Beatles songs; while he was a trained musician, the knowledge required to modify classical scores into Beatles tunes required a post-doctorate level of mastery of theoretical music. All of the Beatles songs are modeled after Mozart's style of writing brief, fantastic musical pieces: Rondo Alla Turca, the overture to The Marriage of Figaro (which was modified by Adorno into Please Please Me) and much more. Listen to Eight Days A Week, For No One, Eleanor Rigby, the Beatles songs are written by a master of theoretical music in the style of Mozart. In the official chronology of history, Mozart's musical output is spread over two decades. Same with Beethoven and Tchaikovsky. Not so with Lennon and McCartney. Here is what Lennon wrote in just three years, we are told: From Me To You She Loves You Please Please Me I Want To Hold Your Hand A Hard Day's Night I Feel Fine Eight Days A Week Ticket To Ride Help You've Got To Hide Your Love Away Norwegian Wood Nowhere Man Day Tripper This kind of output is without precedent in music history. No one else has been able to come up with some six songs per year written at the level of Mozart and Rossini. And then... ONE single song for 1966: Strawberry Fields Forever. TWO songs in 1967: Lucy In the Sky With Diamonds and All You Need is Love. ONE last song in 1968: Revolution No 1. And then... NOTHING AT ALL. Does it make any sense?
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Post by superman on Sept 30, 2023 22:55:42 GMT -5
It just makes sense to me, that GM actually wrote these hits (surely with input equally injected into this topic by Adorno). When you listen to the above Dr. Mitchell's genius in the 2 minute audio comparison of the 'Lennon song' 'Because' and the Chopin work, 'Fantaisie Impromptu in C-sharp minor', it all comes into clear focus for me how deeply and successfully we've been lied to. Nobody here (or anywhere else for that matter) is asking the most important question: how in the world would Lennon know anything at all about Chopin? He couldn't even spell Chopin, let alone him knowing anything about the Fantaisie Impromptu in C-sharp minor. This is Lennon in 1969: www.facebook.com/photo/?fbid=870932237726182&set=a.200693654750047A Spaniard In The Works was written for him. In order to modify the Fantaisie Impromptu and turn it into Because you need some heavy duty knowledge of theoretical music, to actually read the notes of the piano sheet music and decades of experience in the field. GM did not write the Beatles songs; while he was a trained musician, the knowledge required to modify classical scores into Beatles tunes required a post-doctorate level of mastery of theoretical music. All of the Beatles songs are modeled after Mozart's style of writing brief, fantastic musical pieces: Rondo Alla Turca, the overture to The Marriage of Figaro (which was modified by Adorno into Please Please Me) and much more. Listen to Eight Days A Week, For No One, Eleanor Rigby, the Beatles songs are written by a master of theoretical music in the style of Mozart. In the official chronology of history, Mozart's musical output is spread over two decades. Same with Beethoven and Tchaikovsky. Not so with Lennon and McCartney. Here is what Lennon wrote in just three years, we are told: From Me To You She Loves You Please Please Me I Want To Hold Your Hand A Hard Day's Night I Feel Fine Eight Days A Week Ticket To Ride Help You've Got To Hide Your Love Away Norwegian Wood Nowhere Man Day Tripper This kind of output is without precedent in music history. No one else has been able to come up with some six songs per year written at the level of Mozart and Rossini. And then... ONE single song for 1966: Strawberry Fields Forever. TWO songs in 1967: Lucy In the Sky With Diamonds and All You Need is Love. ONE last song in 1968: Revolution No 1. And then... NOTHING AT ALL. Does it make any sense? Does the "Wings" and solo output count? Seems to me that "Paul" has been pretty consistent in putting out material since the Beatle breakup.
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Post by sandokhan on Oct 1, 2023 15:42:08 GMT -5
Good question. Here is a list of most of the songs attributed to Wings and how they relate to our discussion.
Rockestra (the last of the great Beatles songs to appear on an ex-Beatle album) is a modified Good Day Sunshine.
I Love You (Wings) is a modified Maxwell Silver Hammer.
Let Me Roll It (Wings) is a modified Oh Darling.
Letting Go (Wings) is a modified I've Got A Feeling (Beatles).
Magneto and Titanium Man (Wings) is a modified Hi, Hi, Hi (Wings) which in turn is a modified Helter Skelter (the source is Purple Haze given to Hendrix, modified again by Adorno for Helter Skelter on the White Album)
Venus and Mars is a modified Maybe I'm Amazed (a modified version of Long and Winding Road).
Junk (one of the best songs on McCartney II's first solo album) is a modified Fixing A Hole.
Live And Let Die - this song, written by Adorno in 1968, was supposed to be the Beatles' next single in 1970. A modified Magical Mystery Tour.
My Love is a modified version of All My Loving.
Band On The Run is a modified version of You Won't See Me.
The solo career of John Lennon II featured these songs written by Adorno:
Imagine - a modified Let It Be
#9Dream - a modified We Can Work It Out
Watching The Wheels - a modified Maybe I'm Amazed
Just Like Starting Over - a modified Pretty Woman (given to R. Orbison by Adorno, actually a modified version of Do You Want To Know A Secret)
Mind Games - a modified All You Need Is Love
Bless You - a modified Band On The Run
Oh My My (the biggest hit of Ringo Starr's solo career) is a modified Get Back.
Harrison was given Dark Horse (a modified Gallows Pole by Adorno, who was inspired from black soul music), What is Life (a modified Satisfaction), and Give Me Love, not to mention My Sweet Lord (which Adorno copied from some early sixties music, and got Harrison into plagiarism trouble).
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Post by sandokhan on Oct 1, 2023 16:25:06 GMT -5
"I don't know why but I imagine what if The Beatles where still active during 1971 and they did the song? Just seems like something that The Beatles would have made."
"YES Thats exactly what i thought it sounds so similar to so songs they did."
"This song has Beatles written all over it. The arrangement, the different styles of rhythm."
"The most Beatles-esque song by an ex Beatle."
But it was a Beatles song.
Admiral Halsey/Uncle Albert is a modified version of Lucy In The Sky With Diamonds.
Give Me Love is a modified version of Eight Days A Week.
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Post by sandokhan on Oct 2, 2023 1:36:51 GMT -5
Take It Away is a modified version of It Won't Be Long.
Ebony And Ivory is a modified version of All My Loving (yes, two songs from With The Beatles which were modified for the main songs on Tug Of War), with added elements from You Never Give Me Your Money.
Revolution 1 is a modified version of I Call Your Name.
Ballroom Dancing (Tug Of War, Paul McCartney) is a modified version of Lay Down Sally (Eric Clapton), which in turn was derived from The Last Time (given to the Rolling Stones).
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Post by sandokhan on Oct 5, 2023 8:58:13 GMT -5
Let 'Em In is a modified version of Mother Nature's Son. I also agree that The Beatles did not write the majority of the songs they are credited with. No way. They were a pretty good little skiffle group and had some vocal pipes but that is all. The notion that they could write 200 of the world's most endearing modern popular songs is just impossible. The few original songs (3 I think) on their Decca audition tape are terrible and George Martin said in an interview that their material was "rubbish" when he discovered them. We are supposed to believe they went from near-zero songwriting ability to prolific geniuses in a few months after signing their record deal. That's just ridiculous. George Martin said he selected them only because they had some vocal ability and appealing "cheeky" personalities. Also, many of the "Beatle Songs" use very advanced and complex musical elements which are simply too far beyond the skills of the band to be believed. The songs are on a level of the very best songs written by pro songwriters with serious musical backgrounds and education. There was likely a long list of actual pro songwriters involved in his project. All very well paid, I'm sure. Let me explain something so that it is very clearly understood. Let us suppose that the Beatles had at their disposal George Gershwin and Henry Mancini to write songs for them. Would that suffice? Not a chance. Gershwin and Mancini could supply perhaps 2-3 great hits per year, but not 4, and certainly not 20 supporting songs (which would have represented the greatest hits of other groups), with no guarantee that they'd be able to sustain the effort in the following year. Would Mozart by himself have been able to accomplish such a feat? Not a chance. He would provide two great songs per year, and 5-6 supporting songs. Would Mozart and Beethoven together be enough to provide the necessary songs? No. Not even Tchaikovsky by himself or together with Verdi. The Beatles needed at least four monster hits per year, and some 20 supporting songs (and there were other groups waiting in line or in the shadows). All in all, the British invasion of the 60s and 70s and the American groups needed some 1000 songs to do the job. It takes Mozart, Beethoven, Verdi, Borodin, Tchaikovsky, Saint-Saens, de Falla, Bach, Vivaldi and some more composers to actually provide the Beatles songs. All of them together. No "pro songwriter" could provide at least one single Beatles song. Not with any serious musical background or education. Not even if they'd been paid 1 millon dollars per song. The Beatles, with a little help from their classical music composers, took the world by storm. In 1962, The Beatles, musically speaking, were about at the same level as Vanilla Ice (who at least was a formidable dancer). Why would a big wig like George Martin waste even ten seconds of his time with them? Because the request to be nice to them came from very high above, someone who had a vision for The Beatles: their voices would be useful, but who could provide the necessary songs? Since there was no Mozart or Beethoven alive at that point in time, they came up with something very ingenious, to actually have Mozart, and Beethoven, and Tchaikovsky write all those songs. But who could provide the modifications required? Only the very best theoretical musician in the world at that time: Adorno. When the White Album came out, everyone else was quiet. Everyone was waiting for the next Beatles album to see what else they could accomplish.
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Post by joseph on Oct 5, 2023 22:56:05 GMT -5
I think you're harbouring a grudge sandokhan. What that grudge is I would have to find out more about your personal life to get a better understanding. Don't tell me though, I don't want to know I did a Google image search of your avatar and you've based your forum persona on a nineteenth century fantasy fictional pirate by an Italian writer called Emilio Salgari, all of which I had never heard of before. That's quite pertinent considering the fantasies you're selling here. I've already done a thread showing that after a certain point The Beatles stopped writing their own music. This only corroborated a well-founded opinion that all four Beatles were replaced with imposters at that point where it's noticeable that they stopped writing their own music. This analysis was plagiarised by one of the top "Paul was replaced" youtubers, but instead of telling his audience that they were all replaced he twisted it to suit his narrative that The Beatles were never a real band. That marked him out as a deceiver and you're toeing the same line - same line as "The Beatles never existed" crowd. Now I'm not going to accuse you of knowing the truth but you can't speak the truth, because you could have Munchausen syndrome but I will say if you can't speak the truth your existence is meaningless.
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Post by sandokhan on Oct 6, 2023 1:11:36 GMT -5
No grudge, just a search to find out who really wrote of all those songs. When did you write your thread? Like 14 years ago, like I did? I was the first to clearly state that those songs were modifications of classical scores, and I was able to point out the original source for all of them.
This only corroborated a well-founded opinion that all four Beatles were replaced with imposters at that point where it's noticeable that they stopped writing their own music.
You are dreaming: they did not write their own music at any point.
What proof do you have that they wrote their own music at any time? I have written proof that Love Me Do, Please Please Me, Ask Me Why, P.S. I Love You were songs written "specifically" for the Beatles.
Question: were you high on something, joseph, when you wrote this drivel (your last message)?
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Post by sandokhan on Oct 6, 2023 2:24:00 GMT -5
Now, joseph, let me take care of your line of reasoning once and for all. You are saying that AHDN was written by the Beatles, and that they were replaced in 1964. Well, I have very bad news for you joseph. And I Love Her, one of the very best songs on the AHDN album was not written by the Beatles: www.icce.rug.nl/~soundscapes/DATABASES/AWP/ailh.shtml (source) And I Love Her is a modified version of Schumann's "Im Wunderschönen Monat Mai" (In the wonderfully-beautiful month of May), opening song from "Dichterliebe" (Poet's Love): www.youtube.com/watch?v=RbzUl1LtRKQA Hard Day's Night, the song, is a modified version of Rossini's Wilhelm Tell overture. Can't Buy Me Love is a modified version of Mozart's Aine Kleine Nacht Musik (first movement). I Want to Hold Your Hand is a modified version of From Me To You (itself a modification of Grieg's Morning Mood (from the Peer Gynt suite). Please Please Me is a modified version of Mozart's overture from The Marriage Of Figaro. I Saw Her Standing There is a modifed version of one of the themes from Gershwin's Porgy and Bess suite. Later, Adorno modified the same score for Simon&Garfunkel, Mrs. Robinson. Please explain to your readers how or when or who modified Schumann's Im Wunderschonen Monat Mei into And I Love Her. You got nothing going for you joseph. Who wrote Help? Obviously the same composer who penned A Hard Day's Night. But Help is a modified version of Bach's Air Suite. In the same year, 1965, Help was modified into We Can Work It Out.
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Post by Paul Bearer on Oct 29, 2023 23:01:46 GMT -5
It is argued that nothing is original. You sit down and write a song which you feel is uniquely you yet you don't know you have subconsciously picked up musical ideas from other things you have heard. Furthermore, there is someone on the other side of the world who has written something perhaps almost identical or very close to what you have. It isn't your fault; you're not cheating; it is simply that there are only so many variations of tunes though millions of songs have been written.
Just as it is with musical notes, so it is with creative writing. There are only so many words in the dictionary and only 26 letter in the alphabet which is why so many writers produce works with similar ideas and expressions with no deliberate effort to rip anyone off.
The style of Lennon and McCartney are distinctly different. Those who know this miss the loss of the one who was murdered in 1966. We no longer hear those kinds of ballads that Paul wrote. Had someone else been writing for Paul, his death and replacement would have been of no consequence creatively and consistency of writing would have continued but those with ears can feel the change. which is why your whole argument sandokhan is invalid. John slowed down his writing as was he depressed, mourning for Paul, taking drugs to try to ride out his pain, and didn't believe in Beatles because the original - THE Beatles - were over. This and the added pressure of not revealing the truth on fear of death would tend to kill motivation to pursue a musical career with the same gusto.
Any supposed link between The Beatles music and classical music is pure conjecture. You really have to stretch on comparing the pieces to form even a casual link, but a bitter and paranoid mind will see what it wants to.
If Adorno was so brilliant, why didn't he just have his own career? Screw the idea of others taking the glory.
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Post by sandokhan on Nov 3, 2023 10:30:32 GMT -5
You have not brought any proofs for your arguments other than your own opinions.
Take a look at this:
"It was the first ballad I impressed myself with. It’s got nice chords in it, ‘Bright are the stars that shine, dark is the sky…’ I like the imagery of the stars and the sky. It was a love song really. The ‘And’ in the title was an important thing. ‘And I Love Her,’ it came right out of left field, you were right up to speed the minute you heard it. The title comes in the second verse and it doesn’t repeat. You would often go to town on the title, but this was almost an aside, ‘Oh… and I love you.’ It still holds up and George played really good guitar on it. It worked very well." Paul saying how pleased he was with his song AND I LOVE HER
You must know music theory, to write/read notes in order to even think of modifying Schumann's piano piece. Who in the world in Great Britain, at that time, knew anything about Schumann's Poet's Love? None other than a German speaking native, who had to study such scores at the German school of music.
Written proof that Please Please Me, Love Me Do and P.S. I Love You were written "specifically" for the Beatles. Not my claim, but Brian Epstein's own comments:
No conjectures my friend. Just straight-forward, most definite proofs.
Listen to Fernando Sor's guitar piece, this is where Blackbird was copied from:
Lennon provided no songwriting skills before 1963. None whatsoever. Then we are to believe that he was able to become the best composer in the world during 1963-1965? After 1966, there are only three notable songs coming from Lennon. Nothing afterwards.
Who wrote Blackbird and Martha My Dear? Who had the skills to pull off such a feat? No one in England, France or Italy. This kind of expertise in music theory could only have come from the German school of music. If you don't like Adorno, you must find somebody else who wrote the Beatles songs. He provided different styles not only to differentiate between McCartney and Lennon, but he wrote the entire British invasion. He invented heavy metal and punk music. What did the Beatles play before 1963? ONLY cover songs.
“When I met John he had four strings on his guitar, I mean John didn’t even know guitars had six strings. I said ‘What are you doing? What’s that?’ and he said, you know, ‘What?’ you know he thought that’s where it was. So we showed John the guitar chords E and A and all those.” – George Harrison
In June 1960, with no drummer, and very few gigs, Allan Williams arranged for The Beatles to back Janice the Stripper at a strip club in Liverpool that Williams ran. Paul played drums, accompanied by John, George and Stuart on a tiny stage. “Janice brought sheets of music for us to play all her arrangements. She gave us a bit of Beethoven and the ‘Spanish Fire Dance’. So, in the end, we said ‘We can’t read music, sorry, but instead of the ‘Spanish Fire Dance’ we can play ‘The Harry Lime Cha-Cha’, which we’ve arranged ourselves, and instead of Beethoven you can have ‘Moonglow’ or ‘September Song’. Take your pick. Instead of the ‘Sabre Dance’ we’ll give you ‘Ramrod’. So that’s what she got. She seemed quite satisfied anyway.”
But I Feel Fine is a modified version of de Falla's Fire Dance.
"I never heard Paul and John actually writing songs together. In 1964, Paul confessed to writer Al Aronowitz: 'None of us really knows how to read or write music. The way we work it is like we just whistle. John will whistle at me, and I whistle back at him.'" ㅡ From the book "The Beatles And Me On Tour" by Ivor Davis.
There was no need for them to actually write songs together, since Adorno took care of that task for them.
Now, Paul Bearer, explain to your readers who wrote Blackbird, Martha My Dear, And I Love Her, Please Please Me. Who modified Fernando Sor's guitar piece to turn it into Blackbird?
My track record in detecting the modified songs of the British invasion is second to none. Please come to your senses.
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Post by Paul Bearer on Nov 3, 2023 22:03:54 GMT -5
Nobody modified anything. You are one that hasn't proven anything. It is all conjecture. You're seeing what you want to see. Songs can sound similar, that is all, and I've already explained why. The Aquarian Conspiracy, which is what you are talking about, came as a by-product of an anti-Semitic conspiracy known as Cultural Marxism which Adorno actually hated. See Was Adorno the Fifth Beatle?
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Post by sandokhan on Nov 4, 2023 1:59:12 GMT -5
Has anyone noticed the similarities between joseph's and paul bearer's messages? To use an alt to get one's points across is just terrible.
Not my claim, but Brian Epstein's own words.
It was Brian Epstein who had related the entire story to the Mersey Beat reporter:
Brian Epstein reported for Mersey Beat, and his story, carried anonymously at his request. He told how they had met together at Liverpool Airport at 8.15am for their flight to London.
At that point in time Epstein knew for a fact that all those songs had been written "specifically" for The Beatles.
For the September 4, 1962 session, The Beatles were given six songs: How Do You Do It (Mitch Murray), Love Me Do, Ask Me Why, P.S. I Love You, PLEASE PLEASE ME, and Tip Of My Tongue. Yes, Please Please Me was among the "recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)". Obviously, whoever wrote Please Please Me also penned I Saw Her Standing There, and their next two singles, From Me To You and She Loves You.
I do not provide conjectures, but only direct proofs.
John and Paul were never seen writing songs together.
"I never heard Paul and John actually writing songs together. In 1964, Paul confessed to writer Al Aronowitz: 'None of us really knows how to read or write music. The way we work it is like we just whistle. John will whistle at me, and I whistle back at him.'" ㅡ From the book "The Beatles And Me On Tour" by Ivor Davis.
And I Love Her is a modified version of Schumann's song, not my claim but the opinion of an expert in music theory:
And I Love Her, one of the very best songs on the AHDN album was not written by the Beatles: www.icce.rug.nl/~soundscapes/DATABASES/AWP/ailh.shtml (source) And I Love Her is a modified version of Schumann's "Im Wunderschönen Monat Mai" (In the wonderfully-beautiful month of May), opening song from "Dichterliebe" (Poet's Love): www.youtube.com/watch?v=RbzUl1LtRKQYou must know music theory, to write/read notes in order to even think of modifying Schumann's piano piece. Who in the world in Great Britain, at that time, knew anything about Schumann's Poet's Love?
Blackbird one of the greatest Beatles songs is a modified version of Fernando Sor's guitar piece, the fact cannot be denied at all, it is the very same song:
The icing on the cake is of course Martha. Remember, it was claimed by Paul that Martha refers to his sheep dog. Of course, very few people know that Martha was a song written by von Flotow, Adorno left that fact as a clue. Now, had Paul had any knowledge at all about von Flotow's Martha, he would have used ANY OTHER title for the song but Martha, in order not to attract attention to the fact that von Flotow's Martha sounds just like Martha My Dear.
I have just proven that Please Please Me, Love Me Do, PS I Love You, And I Love Her, Blackbird and Martha My Dear were not written by John and Paul. And whoever wrote Blackbird also penned Yesterday and Hey Jude.
If you want to go on denying these very simple facts, that is not my problem, go ahead and live in a fantasy world where John and Paul wrote million dollar songs.
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Post by P(D)enny La(i)ne on Nov 5, 2023 17:08:37 GMT -5
"On Tuesday, September 4th, The Beatles will fly to London to make recordings at E.M.I. Studios. They will be recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)."This means that whoever wrote that article for the Mersey Beat knew for a fact that Love Me Do and P.S. I Love You were written especially for the Beatles. It was Brian Epstein who had related the entire story to the Mersey Beat reporter:
Brian Epstein reported for Mersey Beat, and his story, carried anonymously at his request. He told how they had met together at Liverpool Airport at 8.15am for their flight to London.At that point in time Epstein knew for a fact that all those songs had been written "specifically" for The Beatles. For the September 4, 1962 session, The Beatles were given six songs: How Do You Do It (Mitch Murray), Love Me Do, Ask Me Why, P.S. I Love You, PLEASE PLEASE ME, and Tip Of My Tongue. Yes, Please Please Me was among the "recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)". Obviously, whoever wrote Please Please Me also penned I Saw Her Standing There, and their next two singles, From Me To You and She Loves You. I do not provide conjectures, but only direct proofs. You didn't provide a link for any of the above, so I'm assuming that you're referring to the below article, which makes NO MENTION of Brian Epstein relating anything to the Mersey Beat writer. If there's a link that specifically indicates this, please provide it. www.beatlesagain.com/breflib/pete.html#:~:text=On%20Tuesday%2C%20September%204th%2C%20The,manager%20George%20Martin%20(Parlophone).
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Post by sandokhan on Nov 6, 2023 8:19:47 GMT -5
davidabedford.com/4th-september-1962-in-beatles-history-the-fab-four-love-me-dont/ (I had posted the link in my Sept 27 message) Please Please Me was a super hit, by far the best song to come out of any British group up to that time, not to mention any of the songs coming out of the USA (1956-1962). Why did Epstein mention that it was "specifically" written for the group? Because at that point in time he knew that they had nothing going for them, and the best that could be done with those few songs is a ticket to stardom for one year at most. If you had any knowledge of Martha by von Flotow, which sounds exactly like Martha My Dear, would you mention the name "Martha" (of all the possible names) in the title of your song? Never. Why attract attention for no reason at all? How many composers of classical music in England at that time knew anything about von Flotow? Whoever modified Martha into Martha My Dear (one of the greatest Beatles songs and one of the greatest tunes of all time) left the name itself as a clue.
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Post by jarvitronics on Nov 6, 2023 10:22:46 GMT -5
<snip> If you had any knowledge of Martha by von Flotow, which sounds exactly like Martha My Dear, would you mention the name "Martha" (of all the possible names) in the title of your song? Never. Why attract attention for no reason at all? How many composers of classical music in England at that time knew anything about von Flotow? Whoever modified Martha into Martha My Dear (one of the greatest Beatles songs and one of the greatest tunes of all time) left the name itself as a clue. The opera Martha is about two hours long. Will you please point us to the section that "sounds exactly like Martha My Dear"? Thank you. -j
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Post by sandokhan on Nov 7, 2023 1:13:20 GMT -5
The length of some opera is not in question here. What matters is that no one at E.M.I./Parlophone/Apple knew anything about von Flotow at that point in time. The similarities are in full view for everyone: www.youtube.com/watch?v=PQz9lYaXcQs (piano cover of m'appari tutt'amor/martha) www.youtube.com/watch?v=VpfLu-e_P5c (string quarter version of martha my dear) Before september 1962, The Beatles played only cover songs, nothing else. After 1969, the former members of the Beatles behave as if the period 1963-1969 had never occurred in the first place. Listen to Yellow Submarine, then to Verdi's Triumphal March from the opera Aida.
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Post by jarvitronics on Nov 7, 2023 7:46:16 GMT -5
The length of some opera is not in question here. What matters is that no one at E.M.I./Parlophone/Apple knew anything about von Flotow at that point in time. The similarities are in full view for everyone: www.youtube.com/watch?v=PQz9lYaXcQs (piano cover of m'appari tutt'amor/martha) www.youtube.com/watch?v=VpfLu-e_P5c (string quarter version of martha my dear) Before september 1962, The Beatles played only cover songs, nothing else. After 1969, the former members of the Beatles behave as if the period 1963-1969 had never occurred in the first place. Listen to Yellow Submarine, then to Verdi's Triumphal March from the opera Aida. I do not hear any similarity between Flotow's Martha and Martha My Dear. Nor do I hear any similarity between Verdi's Triumphal March and Yellow Submarine. -j
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Post by sandokhan on Nov 7, 2023 11:13:45 GMT -5
To paraphrase the Beatles, you can't do that.
Here is the Italian wikipedia:
Si dice che la canzone sia stata ispirata alla melodia e ai testi di M'appari 'tutt' amor, dall'opera Martha di Friedrich von Flotow (1812-1883), la cui prima fu eseguita a Vienna nel 1847.
These things can no longer be denied. Again, this shows that no one, not Paul, nor someone at E.M.I./Apple, had any knowledge about the opera Martha by von Flotow which had been composed a century earlier. To call your song Martha My Dear, when it sounds just like Martha by von Flotow, doesn't make any sense at all: why subject yourself to a needless inquiry by future generations? These future generations might ask a simple additional question: if Martha My Dear was copied from someone else, what about the other great Beatles tunes? As soon as anyone at E.M.I./Apple, who knew about von Flotow's opera, would hear Paul's new song, he would have made sure that the song was called Marie/Mona/Maira My Dear, not in any way possible Martha My Dear, and would have immediately disallowed any mention of a sheep dog by the same name. This is the clue left by the master musician who actually did write Martha My Dear.
Here is the testimony of an expert in music theory, someone who actually works in the industry:
"about a yr ago at a friends party i mentioned the theory to the host who is a classically trained musician. he raised an eyebrow and said there's no way they could have written all that music in that little time. it's just not possible. someone helped, coached or wrote for them. lyrically i believe they, especially lennon wrote a great deal even if the subject matter was impressed upon him. he was clever with words. he was no dummy, but he was no musical genius. listen to his 'rock and roll' solo album. come on people. listen to free as a bird and most of the other feeble efforts he soloed. yes i'm aware of instant karma, imagine, etc. but most of it was dribble compared to the beatles. it's like comparing basic addition with advanced trigonometry. a few days ago after reading the first comment on this thread i called my previous mentioned friend and started naming the songlist of classical music and its corresponding beatles song. i said 'aiva' etc was yellow sub. he paused for a second, i heard a few 'da da hum daaah, DEE dah da's' and then a yup or ahuh. this was the case for every song on the list. he also stated that it was common in HWD, NY and motown, etc to have classical composers in almost every studio to smooth out the song."
Here is the Triumphant March by Verdi:
Now listen to the refrain from Yellow Submarine (we all live on a yellow submarine, yellow submarine, yellow submarine part):
They are one and the same. Remember, I have written proof coming from Brian Epstein which plainly spells out that Please Please Me, Love Me Do, and PS I Love You were written "specifically for The Beatles". Then, each and every other song was written as well "specifically for the Beatles". Listen to Fernando Sor's guitar piece: it is Blackbird.
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Post by ramone on Nov 7, 2023 14:09:56 GMT -5
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Post by jarvitronics on Nov 7, 2023 16:46:26 GMT -5
<snip> Here is the Triumphant March by Verdi: Now listen to the refrain from Yellow Submarine (we all live on a yellow submarine, yellow submarine, yellow submarine part): They are one and the same.<snip>
No they aren't the same. Not even close. However, the first five notes of the Funkytown riff are the same as the first five notes of the Sunshine of Your Love riff. lol -j
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