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用戶:小夊/sandbox

維基百科，自由的百科全書
The Beatles
發行於1968年的原版黑膠唱片封面有凸印在白色背景上樂隊名字和編號，由理查德·哈密爾頓設計。
披頭四樂隊的錄音室專輯
發行日期1968年11月22日（英國）
1968年11月25日（美國）
錄製時間1968年5月30日-10月14日
錄音室倫敦EMI錄音室和三叉戟錄音室（Trident Studios）
類型
時長93:35
唱片公司蘋果唱片
監製喬治·馬丁
披頭四樂隊專輯年表
Sgt. Pepper's Lonely Hearts Club Band
（1967年） 		The Beatles
（1968年） 		Yellow Submarine
（1969年）
披頭四樂隊北美發行年表
Magical Mystery Tour
（1967年） 		The Beatles
（1968年） 		Yellow Submarine
（1969年）

《The Beatles》，也被稱為「白色專輯」（White Album），是披頭四樂隊的第九張錄音室專輯，於1968年11月22日發行。該雙碟專輯的純白封套除了凸印的樂隊名外沒有任何圖像或文字[a]，意指與前作《Sgt. Pepper's Lonely Hearts Club Band》鮮艷繁複的封面藝術形成直接對比。雖然專輯中沒有歌曲在英美以單曲形式發行，但同一時期錄製的歌曲《Hey Jude》和《Revolution》於同年8月作為單曲的兩面發行。專輯中的歌曲風格各異，從英式布魯斯（British blues）到斯卡，還有受海灘男孩和卡爾海因茨·施托克豪森影響的風格等。

專輯中大部分歌曲是在1968年3月和4月間創作的，當時樂隊在印度瑞詩凱詩接受超脫靜坐（Transcendental Meditation）課程。同年5月至10月，樂隊回到倫敦EMI錄音室錄音。在錄音期間，樂隊成員之間爆發了口角，錄音室里有人目睹了他們因創作上的分歧而爭吵。列儂攜帶新伴侶小野洋子參與錄音進一步激化了矛盾。經歷了製作人喬治·馬丁突然請假和工程師傑夫·埃默里克（Geoff Emerick）辭職等一系列波折後，鼓手林戈·斯塔爾在8月短暫退出樂隊。樂隊中緊張的關係一直持續到下一年，最終導致披頭四於1970年4月解散。

《The Beatles》在發行後受到的媒體評價褒貶不一。儘管有一些人讚揚了列儂和麥卡特尼的寫歌水平，但大多數樂評人認為其中的諷刺歌曲在當時動盪的政治社會氣候中無關緊要、沒有政治意義。樂隊和馬丁為該專輯應從雙碟改為單碟而爭論不休。雖然如此，它還是在英美兩國的排行榜上登頂第一，自此被一些樂評人視為史上最偉大的專輯之一。

背景

[編輯]

到1968年，披頭四已獲得了商業和口碑上的雙重成功。他們的上一張專輯《Sgt. Pepper's Lonely Hearts Club Band》在英國榜單上達到第一，在榜27周，發行後的第一周就售出了25萬張[1]。《時代》雜誌1967年的一文寫道：「《Sgt. Pepper's》是音樂發展進程中歷史性的新嘗試。[2]」美國作家蒂莫西·利里認為披頭四是「上帝派來的進化使者，被賦予造新人類的神秘力量。[3]」樂隊的電影《搜游寶》（Magical Mystery Tour）收到了負面的專業評價，但歌迷對此的反響依舊很積極[4]。

1968年5月，收錄於《The Beatles》中的歌曲在喬治·哈里森的家中被錄製成小樣。

《The Beatles》中的大部分歌曲是樂隊在印度創作的，他們在1968年2月至4月到瑞詩凱詩接受瑪哈瑞詩·瑪哈士（Maharishi Yogi）的超脫靜坐課程[5][6]。他們在隱居處進行長時間的冥想，視其為暫避世俗慾念的途徑，用約翰·列儂的話說，這是一個「逃離所有事物」的機會 [7]。列儂和保羅·麥卡特尼很快重新開始了創作活動，經常在下午秘密地到對方房間交流各自的新作品[8]。列儂在日後回憶道：「我不顧當時該做的事，的確在那裏寫了一些我最好的歌。[9]」研究披頭四的作者伊恩·麥克唐納（Ian MacDonald）認為《Sgt. Pepper's》是由LSD塑造的[10]，但樂隊去印度時沒有攜帶除大麻外的其他毒品，他們清醒的頭腦有利於歌曲的創作[11]。這段經歷對喬治·哈里森創作生涯的影響尤其重大，當時正值他學習兩年西塔琴後重拾結他[12]。音樂理論家沃爾特·埃弗雷特（Walter Everett）把哈里森在1968年作為詞曲作者的成長與列儂和麥卡特尼在五年前的成長作比。他還指出哈里森「私下裏變得更高產了」，因為他在樂隊中一直以來處於資歷較淺的地位[13]。

披頭四在課程結束前就離開了瑞詩凱詩。林戈·斯塔爾因無法忍受飯食第一個離開[14]；麥卡特尼在3月中旬離開[11]。哈里森和列儂對印度宗教更感興趣，直到4月才走[11]。據傳記作者喬弗里·朱利亞諾（Geoffrey Giuliano）所寫，列儂離開的原因是他耳聞瑪哈瑞詩對陪伴披頭四來印度的女性有不軌行為，他感到自己遭到了背叛[15][16]。但麥卡特尼和哈里森後來發現這個傳聞是不真實的[17]，列儂的妻子辛西婭也表示「沒有一丁點的證據或辯解」[18][b]。

樂隊在瑞詩凱詩創作的新歌一共有40首左右。1968年5月，其中的26首歌在哈里森在薩里郡的家金弗斯（Kinfauns）錄製成粗糙的小樣。列儂貢獻了14首歌，在新內容中佔了大部分[11]。列儂和麥卡特尼一起把小樣帶到錄音室處理。一部分家錄小樣和在金弗斯的樂隊活動後來被收錄進1996年的合輯《Anthology 3》中[19]。

錄音

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The album was largely recorded at Abbey Road Studios.

《The Beatles》在1968年5月30日至10月14日期間錄音，主要地點為倫敦EMI錄音室，還有一些錄音期在三叉戟錄音室（Trident Studios）完成[20]。The group block-booked time at Abbey Road through to July,[21] and their times at Rishikesh were soon forgotten in the atmosphere of the studio, with sessions occurring at irregular hours.[22] The group's self-belief that they could do anything led to the formation of a new multimedia business corporation Apple Corps, an enterprise that drained the group financially with a series of unsuccessful projects.[23] The open-ended studio time led to a new way of working out songs. Instead of tightly rehearsing a backing track, as had happened in previous sessions, the group would simply record all the rehearsals and jamming, then add overdubs to the best take. Harrison's song "Not Guilty" was left off the album despite recording 102 takes.[24]

《The Beatles》的錄音期是列儂生活上和藝術上的新伴侶小野洋子第一次出現在錄音室。她陪他到EMI錄音室錄製歌曲《Revolution 1》[25]，自那以後差不多成了所有披頭四錄音期的常駐人員[26]。樂隊在這之前通常是單獨工作的，小野的到場打破了他們的習慣[27]。麥卡特尼當時的女友弗朗西·施瓦茨（Francie Schwartz）也出席了一些錄音期[28]，其他兩位成員的妻子帕蒂·哈里森和莫林·史塔基（Maureen Starkey）也是如此[29]。

樂隊在該錄音期間從四軌錄音升級到了八軌錄音。錄音期開始時，EMI錄音室有一台八軌錄音設備，但還沒有安裝。那台機器據推斷在儲藏室放了幾個月，因為EMI的政策要求新設備需經過大量調試後才能投入使用。披頭四到三叉戟錄音室錄製了歌曲《Hey Jude》和《Dear Prudence》，因為那裏有八軌錄音機[30]。當他們了解到EMI也有一台後堅持要用它，工程師肯·斯科特（Ken Scott）和戴夫·哈里斯（Dave Harries）在沒有得到上級批准的情況下把設備搬進2號錄音室供樂隊使用[31]。

披頭四在該專輯製作期的末尾在EMI錄音室進行了他們唯一一次24小時錄音期，發生在專輯的最終混音和排序階段。參與該錄音期的有列儂、麥卡特尼和製作人喬治·馬丁。不像大多數密紋唱片（LP），歌與歌之間沒有慣常的三秒長間斷，and the master was edited so that songs segued together, via a straight edit, a crossfade, or an incidental piece of music.[32]

隊內矛盾

[編輯]
約翰·列儂和小野洋子的新戀情在錄音室造成了與其他樂隊成員的緊張關係。

專輯《The Beatles》是四位日漸各自為政、時常不和的音樂人的作品。李維森指出，有幾個和聲音軌沒有全部成員的貢獻，Lewisohn notes that several backing tracks do not feature the full group, and overdubs tended to be limited to whoever wrote the song.[33] 有時麥卡特尼會在一間錄音室錄很久，而列儂會在另一間錄音，每人用不同的工程師[34]。後來，對樂隊影響日漸式微的馬丁突然自己離開去度假了，讓克里斯·托馬斯（Chris Thomas ）掌管制作[35]。列儂對小野的關注多過他對樂隊隊友的關注，兩人沉溺於海洛英中，列儂的脾氣愈加失控，這一切使工作狀況十分困難[36]。

錄音工程師傑夫·埃默里克自1966年的專輯《Revolver》起與披頭四合作，他已對這一錄音期不抱任何幻想。在錄製《Ob-La-Di, Ob-La-Da》期間，埃默里克無意中聽到馬丁批評麥卡特尼的主唱表現，麥卡特尼回應道：「那你自己下來唱啊。[37]」7月16日，埃默里克宣佈自己不願再與他們合作後離開了[37]。

據作者彼得·多格特（Peter Doggett）所述，在樂隊內部，「最關鍵的列儂和麥卡特尼兩人間的溝通」已被小野在錄音第一天的出現打斷了[38]。披頭四的傳記作者菲利普·諾曼（Philip Norman）表示附和這一看法，評論道，樂隊的兩位主要創作人自一開始就輕視對方的新作品：列儂認為麥卡特尼的歌曲「甜膩平淡」，而麥卡特尼認為列儂的歌曲「粗糙不悅耳，故意地帶有挑釁性」[39]。 哈里森和斯塔爾In a move that Lewisohn highlights as unprecedented in the Beatles' recording career, Harrison and Starr chose to distance themselves part-way through the project,[33] flying to California on 7 June so that Harrison could film his scenes for the Ravi Shankar documentary Raga.[40] Lennon, McCartney and Harrison's involvement in individual musical projects outside the band during 1968 was further evidence of the group's fragmentation.[41] In Lennon's case, the cover of his experimental collaboration with Ono, Two Virgins, featured the couple fully naked – a gesture that his bandmates found bewildering and unnecessary.[42]

8月20日，列儂和斯塔爾在3號錄音室為歌曲《Yer Blues》錄製原帶配音，麥卡特尼在2號錄音室加工歌曲《Mother Nature's Son》。當列儂和斯塔爾去麥卡特尼那裏時，錄音期的良好氣氛立即消失了。工程師肯·斯科特日後說到：「當時的氣氛僵硬得可以用把刀切下來。[34]」8月22日，在歌曲《Back in the U.S.S.R.》的錄音期間，斯塔爾突然離開了錄音室[43]。麥卡特尼對他在這首歌中打鼓的不斷批評讓他很沮喪，覺得自己在樂隊中的角色沒其他成員重要[44][45]。錄音室工作人員日後表示斯塔爾來參加錄音期時經常需要坐在接待區等其他成員露面[46]。斯塔爾出走期間，麥卡特尼在錄製歌曲《Dear Prudence》時擔任了臨時鼓手。Lewisohn also reports that, in the case of "Back in the U.S.S.R.", the three remaining Beatles each made contributions on bass and drums, with the result that those parts may be composite tracks played by Lennon, McCartney and/or Harrison.[46]

列儂、麥卡特尼和哈里森懇求斯塔爾重新考慮。如他們所願，他在9月5日回歸，發現自己的架子鼓上裝飾了鮮花[47]，這是哈里森歡迎他歸來的表態[48]。麥卡特尼認為《The Beatles》的錄音期是樂隊的一個轉折點，說：「那張專輯的製作期間產生了很多摩擦。我們在即將解散的臨界點上，那個過程本身是很緊張的。[49]」列儂在後來說：「你可以在那張專輯上聽到披頭四的解散。[50]」專輯裏30首歌曲中四位成員都參與的歌只有16首[c]。

歌曲

[編輯]

《The Beatles》中的音樂風格跨度很大，作者巴里·邁爾斯（Barry Miles）和吉利安·加爾（Gillian Gaar）認為它是披頭四所有專輯中最多樣化的[65][66]。這些音樂類型包括搖滾、布魯斯、民謠、鄉村、雷鬼、先鋒派[67]、硬搖滾[68]和音樂廳風格[69]。和樂隊自《Revolver》起的作品相比，該專輯的製作美學使它的聲音減輕，不那麼依賴錄音室的技術創新[70]。作者尼古拉斯·沙夫納（Nicholas Schaffner）認為這一變化反映了1967年流行的LSD影響下的迷幻潮流在那時大範圍地退去。這樣的處理手法由鮑勃·迪倫和海灘男孩首先採用，在1968年也被滾石樂隊、飛鳥樂隊等藝人模仿[71]。

在印度時，樂隊身邊可用的唯一一種西方樂器是民謠結他，因此《The Beatles》中的許多歌曲是在民謠結他上創作並第一次演奏的[72]。部分歌曲在最終發行時依舊是原聲的，並僅由一名成員（或者非全部成員）完成錄音，如《Wild Honey Pie》[73]、《Blackbird 》[74]、《Julia》[75]、《I Will》[76]和《Mother Nature's Son》[77])。

第一面

[編輯]

McCartney wrote "Back in the U.S.S.R." as a surreal parody of Chuck Berry's song "Back in the U.S.A."[73] A field recording of an aeroplane taking off and landing was used at the start of the track, and intermittently throughout it, while the backing vocals were sung by Lennon and Harrison in the style of the Beach Boys[46] at the request of Mike Love, who had accompanied the group to India.[78] The track became widely bootlegged in the Soviet Union and became an underground hit.[73] McCartney subsequently recorded a cover album, Снова в СССР, based on a transliteration on the Russian version of the title.[79]

"Dear Prudence" was one of the songs recorded at Trident. The style is typical of the acoustic songs written in Rishikesh, using guitar arpeggios. Lennon wrote the track about Mia Farrow's sister Prudence, who rarely left her room during the stay in commitment to the meditation.[80]

"Glass Onion" was the first backing track recorded as a full band since Starr's brief departure. MacDonald claimed Lennon deliberately wrote the lyrics to mock fans who claimed to find "hidden messages" in songs, and referenced other songs in the Beatles catalogue – "The Walrus was Paul" refers back to "I Am The Walrus" (which itself refers to "Lucy in the Sky with Diamonds").[81] McCartney, in turn, overdubbed a recorder part after the line "I told you about the Fool on the Hill", as a deliberate parody of the earlier song.[82] A string section was added to the track in October.[82]

Lennon went straight to the piano and smashed the keys with an almighty amount of volume, twice the speed of how they'd done it before, and said "This is it! Come on!"
Recording engineer Richard Lush on "Ob-La-Di, Ob-La-Da"[83]

"Ob-La-Di, Ob-La-Da" was written by McCartney as a pastiche of ska music. The track took a surprising amount of time to complete, with McCartney demanding perfectionism that annoyed his colleagues.[52] Jimmy Scott, a friend of McCartney, suggested the title and played bongos on the initial take. He demanded a cut of publishing when the song was released, but the song was credited to "Lennon-McCartney".[84] After working for three days on the backing track, the work was scrapped and replaced with a new recording.[83] Lennon hated the song, calling it "granny music shit",[85] while engineer Richard Lush recalled that Starr disliked having to record the same backing track repetitively, and pinpoints this session as a key indication that the Beatles were going to break up.[83] McCartney attempted to remake the backing track for a third time, but this was abandoned after a few takes and the second version was used as the final mix.[83] The group, save for McCartney, had lost interest with the track by the end of recording, and refused to release it as a single. Marmalade recorded a version that became a number one hit.[84] In 2004, an online poll by Mars ranked the song as the worst ever.[86]

McCartney recorded "Wild Honey Pie" on 20 August at the end of the session for "Mother Nature's Son". It is typical of the brief snippets of songs he recorded between takes during the album sessions.[73]

"The Continuing Story of Bungalow Bill" was written by Lennon after an American visitor to Rishikesh left for a few weeks to hunt tigers.[64] It was recorded as an audio vérité exercise, featuring vocal performances from almost everyone who happened to be in the studio at the time. Ono sings one line and co-sings another, while Chris Thomas played the mellotron, including improvisations at the end of the track.[87] The opening flamenco guitar flourish was a recording included in the Mellotron's standard tape library.[88]

"While My Guitar Gently Weeps" was written by Harrison during a visit he made to his parents' home in Cheshire.[89] He first recorded the song as a solo performance, on acoustic guitar, on 25 July – a version that remained unreleased until Anthology 3.[56] He was unhappy with the group's first attempt to record the track, and so invited his friend Eric Clapton to come and play on it. Clapton was unsure about guesting on a Beatles record, but Harrison said the decision was "nothing to do with them. It's my song."[90] Clapton's solo was treated with automatic double tracking to attain the desired effect; he gave Harrison the guitar he used, which Harrison later named "Lucy".[91][d]

"Happiness Is A Warm Gun" evolved out of song fragments that Lennon wrote in Rishikesh. According to MacDonald, this working method was inspired by the Incredible String Band's songwriting.[60] The basic backing track ran to 95 takes, due to the irregular time signatures and variations in style throughout the song. The final version consisted of the best half of two takes edited together.[93] Lennon later described the song as one of his favourites,[94] while the rest of the band found the recording rejuvenating, as it forced them to re-hone their skills as a group playing together to get it right.[95] Apple's press officer Derek Taylor made an uncredited contribution to the song's lyrics.[96]

第二面

[編輯]

McCartney got the title of "Martha My Dear" from his sheepdog, but the lyrics are otherwise unrelated.[97] The entire track is played by him backed with session musicians, and features no other Beatles. Martin composed a brass band arrangement for the track.[98]

"I'm So Tired" was written in India when Lennon was having difficulty sleeping.[63] It was recorded at the same session as "The Continuing Story of Bungalow Bill".[87] The lyrics make reference to Walter Raleigh, calling him a "stupid get" for introducing tobacco to Europe;[e] while the track ends with Lennon mumbling "Monsieur, monsieur, how about another one?"[87] This became part of the Paul is Dead conspiracy theory, when fans claimed that when the track was reversed, they could hear "Paul is dead man, miss him miss him".[47]

"Blackbird" features McCartney solo, accompanying himself on acoustic guitar. According to Lewisohn, the ticking in the background is a metronome,[33] although Emerick recalls capturing the sound via a microphone placed beside McCartney's shoes.[100] The birdsong on the track was taken from the Abbey Road sound effects collection, and was recorded on one of the first EMI portable tape recorders.[33]

Harrison wrote "Piggies" as an attack on greed and materialism in modern society.[101] His mother and Lennon helped him complete the lyrics.[102] Thomas played harpsichord on the track, while Lennon supplied a tape loop of pigs grunting.[103]

"Rocky Raccoon" evolved from a jam session between Lennon and Donovan in Rishikesh. The song was taped in a single session, and was one of the tracks that Martin felt was "filler" and only put on because the album was a double.[58]

"Don't Pass Me By" was Starr's first solo composition for the band;[104] he had been toying with the idea of writing a self-reflective song for some time, possibly as far back as 1963.[105] It went by the working titles of "Ringo's Tune" and "This Is Some Friendly". The basic track consisted of Starr drumming while McCartney played piano.[106] Martin composed an orchestral introduction to the song but it was rejected as being "too bizarre" and left off the album.[104] Instead, Jack Fallon played a bluegrass fiddle part.[107]

"Why Don't We Do It in the Road?" was written by McCartney in India after he saw two monkeys copulating in the street and wondered why humans were too civilised to do the same.[108] He played all the instruments except drums, which were contributed by Starr. The simple lyric was very much in Lennon's style, and Lennon was annoyed about not being asked to play on it. McCartney suggested it was "tit for tat" as he had not contributed to "Revolution 9".[109]

"I Will" was written and sung by McCartney, with Lennon and Starr accompanying on percussion.[76] In between numerous takes, the three Beatles broke off to busk some other songs. A snippet of a track known as "Can You Take Me Back?" was put between "Cry Baby Cry" and "Revolution 9",[82] while recordings of Cilla Black's hit "Step Inside Love" and a joke number, "Los Paranoias", were released on Anthology 3.[110]

"Julia" was the last track to be recorded for the album and features Lennon on solo acoustic guitar which he played in a style similar to McCartney's on "Blackbird".[75] This is the only Beatles song on which Lennon performs alone[111] and it was a tribute to his late mother Julia Lennon, who was killed in 1958 in a road accident while Lennon was only seventeen, and the lyrics deal with the loss of his mother and his relationship with Ono, the "ocean child" referred to in the lyrics.[75] Ono helped with the lyrics, but the song was still credited to Lennon-McCartney as expected.[112]

第三面

[編輯]

According to McCartney, the authorship of "Birthday" was "50–50 John and me, made up on the spot and recorded all on the same evening".[113] He and Lennon were inspired to write the song after seeing the first UK showing of the rock-n-roll film The Girl Can't Help It on television, and sang the lead vocal in the style of the film's musical star, Little Richard.[59] After the Beatles had taped the track, Ono and Pattie Harrison added backing vocals.[93]

"Yer Blues" was written by Lennon in India. Despite meditating and the tranquil atmosphere, he still felt unhappy, which was reflected in the lyrics.[114] The style was influenced by the British Blues Boom of 1968, which included groups such as Fleetwood Mac and Chicken Shack.[57] The backing track was recorded in a small room next to Studio 2 at Abbey Road. Unusually for a Beatles recording, the four-track source tape was edited directly, resulting in an abrupt cut-off at 3'17" into the start of another take (which ran into the fade out).[115][f]

"Everybody's Got Something to Hide Except Me and My Monkey" and "Sexy Sadie" were both written in reference to Maharishi Mahesh Yogi.

McCartney wrote "Mother Nature's Son" in India, and worked on it in isolation from the other members of the band. He performed the track solo alongside a Martin-scored brass arrangement.[77]

"Everybody's Got Something to Hide Except Me and My Monkey" evolved from a jam session, and was originally untitled. The final mix was sped up by mixing the tape running at 43 hertz instead of the usual 50.[24] Harrison claimed the title came from one of the Maharishi's sayings (with "and my monkey" added later).[51]

"Sexy Sadie" was written as "Maharishi" by Lennon, shortly after he decided to leave Rishikesh.[55] In a 1980 interview, Lennon acknowledged that the Maharishi was the inspiration for the song: "I just called him 'Sexy Sadie'."[116]

"Helter Skelter" was written by McCartney and was initially recorded in July as a blues number. The initial takes were performed by the band live and included long passages during which the group jammed on their instruments.[37] Because these takes were too long to practically fit on an LP, the song was shelved until September, when a new, shorter, version was made. By all accounts, the session was chaotic, but nobody dared suggest to any of the Beatles that they were out of control. Harrison reportedly ran around the studio while holding a flaming ashtray above his head, "doing an Arthur Brown".[117] The stereo version of the LP includes almost an extra minute of music compared to the mono, which culminates in Starr infamously shouting "I've got blisters on my fingers!"[117] Charles Manson was unaware that helter skelter is the British name for a spiral slide found on a playground or funfair, and assumed the track had something to do with hell. This was one of the key tracks that led Manson to believe the album had coded messages referring to apocalyptic war, and led to his movement of the same name.[55]

The final song on side three is Harrison's "Long, Long, Long", part of the chord progression for which he took from Bob Dylan's "Sad Eyed Lady of the Lowlands".[118] MacDonald describes the song as Harrison's "touching token of exhausted, relieved reconciliation with God" and considered it to be his "finest moment on The Beatles".[63] The recording session for the basic track was one of the longest the Beatles ever undertook, running from the afternoon of 7 October through the night until 7 am the next day. McCartney played Hammond organ on the track, and an "eerie rattling" effect at the end was created by a note causing a wine bottle on top of the organ's Leslie speaker to resonate.[63][119]

第四面

[編輯]

"Revolution 1" was the first track recorded for the album, with sessions for the backing track starting on 30 May.[23] The initial takes were recorded with the aim of it being a possible single, but as the session progressed, the arrangement became slower, with more of a laid-back groove. The group ended the chosen take with a six-minute improvisation that had further overdubs added, before being cut to the length heard on the album. The brass arrangement was added later.[120]

"Honey Pie" was written by McCartney as a pastiche of the flapper dance style from the 1920s. The opening section of the track had the sound of an old 78 RPM record overdubbed[121] while Martin arranged a saxophone and clarinet part in the same style. Lennon played the guitar solo on the track, but later said he hated the song, calling it "beyond redemption".[62]

"Savoy Truffle" was named after one of the types of chocolate found in a box of Mackintosh's Good News, which Clapton enjoyed eating. The track featured a saxophone sextet arranged by Thomas, who also played keyboards.[62] Harrison later said that Derek Taylor helped him finish the lyrics.[122]

Lennon began writing "Cry Baby Cry" in late 1967 and the lyrics were partly derived from a tagline for an old television commercial. Martin played harmonium on the track.[53]

"Revolution 9" evolved from the overdubs from the "Revolution 1" coda. Lennon, Harrison and Ono added further tape collages and spoken word extracts, in the style of Karlheinz Stockhausen. The track opens with an extract from a Royal Schools of Music examination tape, and ends with Ono's infamous comment, "you become naked".[123] Ono was heavily involved in the production, and advised Lennon on what tape loops to use.[124] McCartney did not contribute to the track, and was reportedly unhappy on it being included, though he had led similar tape experiments such as "Carnival of Light" in January 1967.[125] The track has attracted both interest and disapproval from fans and music critics over the years.[126]

"Good Night" was a lullaby written by Lennon for his son Julian, and he specifically wanted Starr to sing it. The early takes featured just Lennon on acoustic guitar and Starr singing.[24] Martin scored an orchestral and choral arrangement that replaced the guitar in the final mix, and also played the celesta.[52]

單曲

[編輯]

"Hey Jude" was recorded at the end of July 1968 during the sessions for The Beatles, but was issued separately as a single nearly three months before the album's release.[127] (It would, however, make its LP debut in the US two years later as the title cut of the compilation album Hey Jude) The B-side, "Revolution", was a different version of the album's "Revolution 1". Lennon had wanted the original version of "Revolution" to be released as a single, but the other three Beatles objected on the grounds that it was too slow. Instead, the single featured a new, faster version, with heavily distorted guitar and an electric piano solo from Nicky Hopkins.[84] This was the first release on Apple Records and went on to be the band's most successful single, with world sales of over 5 million by the end of 1968 and 7.5 million by October 1972.[128]

The convention amongst record companies in the 1960s was that singles and albums were distinct entities and should not duplicate songs.[129][g] However, though no singles were taken from The Beatles in either Britain or America, "Ob-La-Di, Ob-La-Da" backed with "While My Guitar Gently Weeps", was a commercial success in several countries, including Australia (where it spent five weeks at number one in the Go Set charts),[130] Japan,[131] Austria,[132] and Switzerland.[133]

未發行的內容

[編輯]

Some songs that the Beatles were working on individually during this period were revisited for inclusion on the group's subsequent albums, while others were eventually released on the band members' solo albums. According to the bootlegged album of the demos made at Kinfauns, the last of these two categories include Lennon's "Look at Me"[134] and "Child of Nature" (eventually reworked as "Jealous Guy");[135] McCartney's "Junk";[135] and Harrison's "Not Guilty" and "Circles".[135] In addition, Harrison gave "Sour Milk Sea" to the singer Jackie Lomax, whose recording, produced by Harrison, was released in August 1968 as Lomax's debut single on Apple Records.[136] Lennon's "Mean Mr. Mustard" and "Polythene Pam" would be used for the medley on Abbey Road the following year.[32]

The Lennon-written "What's the New Mary Jane" was demoed at Kinfauns[137] and recorded formally (by Lennon, Harrison and Ono) during the 1968 album sessions.[58] McCartney taped demos of two compositions at Abbey Road – "Etcetera"[34] and "The Long and Winding Road" – the last of which the Beatles recorded in 1969 for their album Let It Be.[138] The White Album versions of "Not Guilty" and "What's the New Mary Jane", and a demo of "Junk", were ultimately released on Anthology 3.[139]

"Revolution (Take 20)", a previously uncirculated recording, surfaced in 2009 on a bootleg. This ten-minute take was later edited and overdubbed to create two separate tracks: "Revolution 1" and the avant-garde "Revolution 9".[140]

發行

[編輯]

專輯《The Beatles》於1968年11月22日在英國發行[141]，三天後在美國發行[142]。專輯的暫定名字為《A Doll's House》（意為「玩偶之家」），但英國前衛搖滾樂隊家庭樂隊（Family）在同年早些時候發行了標題類似的專輯《Music in a Doll's House》導致該名字被棄用[112]。沙夫納在1977年寫道：「自發行起，每個人都把專輯《The Beatles》稱作『白色專輯』。[143]」

該專輯是蘋果唱片公司發行的第三張專輯，前兩張為哈里森的《Wonderwall Music》和列儂與小野的《Two Virgins》[144]。馬丁表示自己當時反對雙碟專輯的主意，建議他們選擇較強歌曲做成一張單碟專輯，但樂隊沒有採納[141]。1990年代，斯塔爾在《披頭四精選輯》電視節目的採訪中說，他現在覺得它應該分成兩張單獨的專輯發行，一張叫「白專輯」，另一張叫「更白專輯」（The Whiter Album） [145]。哈里森在考慮後表示一些歌曲可以作為B面發行，但「當時樂隊太自負了」[145]。他也支持雙碟專輯的想法，這樣可以清除掉樂隊那時的歌曲庫存。相比之下，麥卡特尼認為專輯現在這樣的形式剛剛好，補充道：「這他媽的是披頭四的白色專輯。閉嘴吧！[145]」

單聲道版

[編輯]

《The Beatles》是披頭四最後一張為單聲道和立體聲版本分別混音的專輯[146]。單聲道版僅在英國和幾個其他國家發行。除了《Revolution 9》外，所有歌曲都有官方單聲道混音版。the exception is "Revolution 9", which was a direct reduction of the stereo master.[34] 在這張專輯前，披頭四對立體聲沒有特別的興趣。在收到歌迷來信表示之前專輯的單聲道和立體聲版本他們兩個都買後，樂隊決定把兩個版本做得有不同之處[147]。幾首歌的兩個混音版本長度不同：《Helter Skelter》的單聲道混音版去除了結尾的淡入和斯塔爾在最後的喊話[117]，《Yer Blues》的淡出在單聲道版中比立體聲版長11秒[148]。

在美國，單聲道專輯已被逐漸淘汰，美國版《The Beatles》是第一張僅有立體聲版的披頭四LP[149]。在英國，樂隊的下一張專輯《Yellow Submarine》是他們最後一張單聲道專輯[150]。2009年9月9日，《The Beatles》的單聲道版作為《The Beatles in Mono》CD套裝的一部分首次在全球範圍發行[151] A reissue of the original mono LP was released worldwide in September 2014.[152]。

包裝

[編輯]

專業評價

[編輯]

當時評價

[編輯]

回顧評價

[編輯]

文化影響

[編輯]

據麥克唐納所寫，1960年代的反文化運動分析專輯《The Beatles》多過樂隊先前的所有作品[47]。專輯中的歌詞從意義模糊，可供開放式解讀，到易被誤解。例如歌曲《Glass Onion》中的一句「the walrus was Paul」（意為「海象是保羅」）[81]和《Piggies》中的「what they need's a damn good whacking」（「他們需要的是一次好好的重擊」）[102]。專輯發行時正當列儂對辛西婭的行為以及他和小野合作的項目（尤其是《Two Virgins》）遭到公眾譴責[153][154]。英國當局對披頭四的態度也變得更不寬容[155]。1968年10月，倫敦緝毒警察因列儂和小野持有大麻而逮捕了他倆，列儂聲稱該項指控是錯的[156]。基督教佈道者大衛·內貝爾（David Noebel）認為歌曲《Back in the U.S.S.R.》的歌詞進一步證明了披頭四屈從了共產黨，謀圖洗腦美國年輕人[157]。

列儂歌曲《Revolution 1》的本意被曲解。列儂在歌詞中建議那些「談論破壞」的人「別算上我」（count me out）。他在唱完「out」後加了聲「in」，使這句歌詞變為了「count me out, in」。在法國發生五月風暴的背景下，這一舉動被激進左派解讀成列儂支持政治驅動的暴力[158]。列儂在《Revolution》中的非激進立場讓新左派評論家感到被背叛了，他們指責專輯《The Beatles》沒有提供一個政治議程[159]，指責披頭四在1968年動盪的政治氣候下利用折衷主義和東拼西湊來逃避重要的議題[159]。解放通訊社（Liberation News Service）的喬恩·蘭多認為，樂隊在《Piggies》和《Rocky Racoon》等歌曲中採用了戲仿的手法是因為他們「不敢面對現實」和「當下緊要的事」[160]。新左派的許多作者像蘭多一樣認為這張專輯落伍、無意義。他們轉而讚頌滾石樂隊同時發行的專輯《Beggars Banquet》，其被列儂的傳記作者喬恩·維納（Jon Wiener）稱為「『強力解答』，一部指向當代政治和社會鬥爭的音樂劇。[161]」

查爾斯·曼森在此前已聲稱在披頭四的其他專輯的歌曲中發現了隱藏的含義[162]。他在《The Beatles》的幾首歌中解讀出了預言性的意思，包括《Blackbird》、《Piggies》、《Helter Skelter》、《Revolution 1》和《Revolution 9》[163]。他覺得這些歌詞預示了即將來臨的暴力或戰爭[164]。他為自己的追隨者曼森家族反覆播放了這張專輯，讓他們相信這是一條預言受壓迫種族起義暴動的天啟信息[165]，類似《啟示錄》的第九章[166]。

Sociologists Michael Katovich and Wesley Longhofer write that the album's release created "a collective appreciation of it as a 'state-of-the-art' rendition of the current pop, rock, and folk-rock sounds".[167] The majority of music critics[h] categorize the White Album as postmodern, emphasizing aesthetic and stylistic features of the album[i] Other scholars[j] situate all Beatles' work within a modernist stance, based either on their "artificiality"[169]or their ideological stance of progress through love and peace.[170] Scapelliti cites it as the source of "the freeform nihilism echoed … in the punk and alternative music genres".[171]

In early 2013, the Recess Gallery in New York City's SoHo neighbourhood presented We Buy White Albums, an installation by artist Rutherford Chang. The piece was in the form of a record store in which nothing but original pressings of the LP was on display.[172] Chang created a recording in which the sounds of one hundred copies of side one of the LP were overlaid.[173]

商業成績

[編輯]

因上一張專輯《Sgt. Pepper's Lonely Hearts Club Band》的成功和近18個月沒有發行新錄音室專輯，對《The Beatles》的期望很高。專輯發行後於1968年12月7日初次進入英國排行榜就佔據了第一的位置[174]，在競爭激烈的聖誕季在首位停留了七周[174]，直到在1969年1月25日被搜索者樂隊（The Seekers）的《Best of the Seekers》取代，降到第二位。但它在一周後重返冠軍寶座，又停留了一周[175]。披頭四的下一張專輯《Yellow Submarine》發行時，《The Beatles》依舊在榜單上身居高位。它在英國榜上總共停留了22周，比《Sgt. Pepper》的149周短得多[176]。2013年9月，英國唱片業協會更改規則後，該專輯獲得了白金認證，說明銷量至少有30萬張[177]。

該專輯在美國取得了巨大的商業成功。發行後的四天內，Capitol唱片賣給商店的張數超過了3.3百萬[178]。專輯於1968年12月14日以第11名的位置進入公告牌二百強專輯榜[179]，之後跳到第二位，在第三周登頂第一[180]，並停留了九周。它總共在榜上停留了155周[181]。該專輯僅在美國就售出了9.5百萬張[182]。美國唱片業協會授予了《The Beatles》19×白金認證，使它成為了披頭四認證次數最多的專輯[183]。

曲目單

[編輯]
全碟詞曲：列侬-麦卡特尼，除非另註明。　
第一面
曲序曲目主唱時長
1.Back in the U.S.S.R.麥卡特尼2:43
2.Dear Prudence列儂3:56
3.Glass Onion列儂2:17
4.Ob-La-Di, Ob-La-Da麥卡特尼3:08
5.Wild Honey Pie麥卡特尼0:52
6.The Continuing Story of Bungalow Bill列儂3:14
7.While My Guitar Gently Weeps（喬治·哈里森）哈里森4:45
8.Happiness Is a Warm Gun列儂2:43
第二面
曲序曲目主唱時長
9.Martha My Dear麥卡特尼2:28
10.I'm So Tired列儂2:03
11.Blackbird麥卡特尼2:18
12.Piggies（哈里森）哈里森2:04
13.Rocky Raccoon麥卡特尼3:33
14.Don't Pass Me By（林戈·斯塔爾）斯塔爾3:51
15.Why Don't We Do It in the Road?麥卡特尼1:41
16.I Will麥卡特尼1:46
17.Julia列儂2:54
第三面
曲序曲目主唱時長
1.Birthday麥卡特尼和列儂2:42
2.Yer Blues列儂4:01
3.Mother Nature's Son麥卡特尼2:48
4.Everybody's Got Something to Hide Except Me and My Monkey列儂2:24
5.Sexy Sadie列儂3:15
6.Helter Skelter麥卡特尼4:29
7.Long, Long, Long（哈里森）哈里森3:04
第四面
曲序曲目主唱時長
8.Revolution 1列儂4:15
9.Honey Pie麥卡特尼2:41
10.Savoy Truffle（哈里森）哈里森2:54
11.Cry Baby Cry列儂，以及麥卡特尼3:02
12.Revolution 9含有列儂、哈里森、喬治·馬丁和小野洋子的說話聲8:22
13.Good Night斯塔爾3:13

參與人員表

[編輯]
The Beatles
Guest musicians
Session musicians
  • Ted Barker – trombone on "Martha My Dear"[196]
  • Leon Calvert – trumpet and flugelhorn on "Martha My Dear"[196]
  • Henry Datyner, Eric Bowie, Norman Lederman and Ronald Thomas – violin on "Glass Onion"[197]
  • Bernard Miller, Dennis McConnell, Lou Soufier and Les Maddox – violin on "Martha My Dear"[196]
  • Reginald Kilby – cello on "Glass Onion"[197] and "Martha My Dear"[196]
  • Eldon Fox – cello on "Glass Onion"[197]
  • Frederick Alexander – cello on "Martha My Dear"[196]
  • Harry Klein – saxophone on "Savoy Truffle"[198] and "Honey Pie"[199]
  • Dennis Walton, Ronald Chamberlain, Jim Chest and Rex Morris – saxophone on "Honey Pie"[199]
  • Raymond Newman and David Smith – clarinet on "Honey Pie"[199]
  • Art Ellefson, Danny Moss and Derek Collins – tenor sax on "Savoy Truffle"[198]
  • Ronnie Ross and Bernard George – baritone sax on "Savoy Truffle"[198]
  • Alf Reece – tuba on "Martha My Dear"[196]
  • The Mike Sammes Singers – backing vocals on "Good Night"[200]
  • Stanley Reynolds and Ronnie Hughes – trumpet on "Martha My Dear"[196]
  • Chris Shepard – stumpf fiddle on "The Continuing Story of Bungalow Bill"[197]
  • Tony Tunstall – French horn on "Martha My Dear"[196]
  • John Underwood and Keith Cummings – viola on "Glass Onion"[197]
  • Leo Birnbaum and Henry Myerscough – viola on "Martha My Dear"[196]
Production team

銷售認證

[編輯]
地區 認證 認證單位/銷量
阿根廷（阿根廷音像製品協會）[206]
標題為《Album Blanco》 		白金 60,000^
阿根廷（阿根廷音像製品協會）[206]
標題為《The White Album》 		金 30,000^
澳大利亞（澳大利亞唱片業協會）[207] 2× 白金 140,000^
加拿大（加拿大音樂協會）[208] 8× 白金 420,000^
加拿大（加拿大音樂協會）[208]
2009年發行 		金


法國（法國唱片出版業公會）[210] 金 257,600[209]
意大利（意大利音樂產業聯盟）[211] 金 30,000*
新西蘭（新西蘭唱片音樂協會）[212] 2× 白金 30,000^
英國（英國唱片業協會）[213] 白金 300,000^
美國（美國唱片業協會）[214] 19× 白金 9,500,000^

*僅含認證的實際銷量
^僅含認證的出貨量

†BPI僅認證1994年後的銷量[215]。

榜單表現

[編輯]

Weekly charts

[編輯]

發行歷史

[編輯]
國家 日期 廠牌 版式 產品樣本號
英國 1968年11月22日 蘋果唱片（Parlophone） LP PMC 7067/8（單聲道版）
PCS 7067/8（立體聲版）[248]
美國 1968年11月25日 蘋果、Capitol唱片 LP SWBO-101（立體聲版）[249]
全世界 1987年8月24日 蘋果、EMI CD CDP 7 46443 8[250]
英國 1998年11月23日 蘋果 CD（30周年限量紀念版） 4 96895 2[251]
日本 2004年1月21日 東芝EMI 重製版LP TOJP 60139/40[252]
世界範圍再版 2009年9月19日 蘋果 重製版CD 3 82466 2[253]
世界範圍再版 2012年11月13日 蘋果 重製版LP 3824661[254]
世界範圍再版 2014年9月9日 蘋果 重製單聲道版LP 734535[152]

參考資料

[編輯]
腳註
  1. ^ 早期發行的LP和CD上有獨特的序列號。
  2. ^ 哈里森日後在自然法黨（Natural Law Party）中與瑪哈瑞詩重歸於好[17]
  3. ^ 《Revolution 1》[22]、《Everybody's Got Something To Hide Except Me and My Monkey》[51]、《Ob-La-Di, Ob-La-Da》[52]、《Cry Baby Cry》[53]、《Helter Skelter》[54]、《Sexy Sadie》[55]、《While My Guitar Gently Weeps》[56]、《Yer Blues》[57]、《Rocky Raccoon》[58]、《Glass Onion》[47]、《Birthday》[59]、《Happiness Is A Warm Gun》[60]、《Piggies》[61]、《Honey Pie》[62]、《I'm So Tired》[63]、《The Continuing Story of Bungalow Bill》[64]
  4. ^ Harrison soon reciprocated by collaborating with Clapton on the song "Badge" for Cream's final studio album, Goodbye. Harrison, too, was not formally credited at first, but was identified as "L'Angelo Misterioso" on the cover.[92]
  5. ^ This has since been misreported as "git"[99] but is written as "get" in the lyrics on the sleeve insert
  6. ^ "Yer Blues" was one of the few late-period Beatles songs that Lennon performed live. Back by Clapton, Keith Richards and Mitch Mitchell, he first played it on 11 December 1968 at The Rolling Stones Rock and Roll Circus; a version recorded with the Plastic Ono Band in September 1969 appears on the live album Live Peace in Toronto.[57]
  7. ^ The group were unhappy about "Strawberry Fields Forever" and "Penny Lane" being left off Sgt Pepper because the tracks had been released as a single.[129]
  8. ^ According to Womack, the list of critical works referring to the White Album as postmodernist includes Henry W. Sullivan's The Beatles with Lacan: Rock 'n' Roll as Requiem for the Modern Age (1995), Ed Whitley's The Postmodern White Album, (2000), David Quantick's Revolution: The Making of the Beatles' White Album (2002), Devin McKinney's Magic Circles: The Beatles in Dream and History (2003), and Jeffrey Roessner's We All Want to Change the World: Postmodern Politics and the Beatles' White Album (2006).
  9. ^ Inglis (2009), for example, lists bricolage, fragmentation, pastiche, parody, reflexivity, plurality, irony, exaggeration, anti-representation and "meta-art".[168]
  10. ^ Including Fredric Jameson (1984), Andrew Goodwin (2006), and Kenneth Womack (2008)
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參考資料

組建

[編輯]

1966年，活躍在倫敦的錄音室樂手吉米·佩奇加入了布魯斯搖滾樂隊雛鳥樂隊，取代原低音結他手保羅·山姆威爾-史密斯（Paul Samwell-Smith）。不久後，佩奇從低音結他手轉變為主音結他手，與傑夫·貝克組成了雙主音結他陣容。在同年10月貝克離隊後，雛鳥因不停地演出和錄音疲態盡現，開始分崩離析。佩奇想要組建一個超級樂團，他自己和貝克彈結他，誰人樂隊的基斯·穆恩（Keith Moon）和約翰·恩奎斯特（John Entwistle）分別擔任鼓手和低音結他手。歌手史蒂夫·溫伍德和史蒂夫·馬里奧特（Steve Marriott）也是潛在候選人。這個想法從未實現，但佩奇、貝克和穆恩的確在一起錄了一首歌，名叫《Beck's Bolero》，低音結他手兼鍵盤手約翰·保羅·瓊斯也參與了這首歌的錄音。

雛鳥樂隊於1968年7月在貝德福德郡魯頓技術學院舉行了最後一場演出，但他們依然手握在斯堪地納維亞的幾場演唱會的合同。於是，鼓手吉姆·麥卡蒂（Jim McCarty）和主唱基斯·雷爾夫（Keith Relf）授權佩奇和低音結他手克里斯·德雷加（Chris Dreja）使用「雛鳥樂隊」的名號履行樂隊未竟的任務。佩奇和德雷加開始招募新成員。特里·瑞德（Terry Reid）是佩奇的主唱第一人選，但他謝絕了邀請，舉薦了歡樂樂隊和霍布斯特韋（Band of Joy and Hobbstweedle）的歌手羅伯特·普蘭特。普蘭特最終接受了這個位置，並推薦了歡樂樂隊前鼓手約翰·博納姆。在德雷加退出樂隊轉行為攝影師後，瓊斯在妻子的建議下詢問了樂隊的空缺位置。佩奇早已認識同為錄音室樂手的瓊斯，同意讓他加入成為最後一名成員。

取自 "https://wiki.zwnes.eu.org/w/index.php?title=User:小夊/sandbox&oldid=79962991"