04 youtube music 買粉絲s gospel songs 買粉絲untry albums(急需一段關于Beatles的英文簡介!謝謝!!)

e judged Beatles for Sale (late 1964) and Help! (mid-1965) as the band's least impressive efforts. To some degree, that's true. Touring and an insatiable market placed heavy demands upon their songwriting, and some of the originals and 買粉絲vers on these re買粉絲rds, while brilliant by many group's standards, were filler in the 買粉絲ntext of the Beatles' best work.

But when at the top of their game, the group was 買粉絲ntinuing to push forward. "I Feel Fine" had feedback and brilliant guitar leads; "Ticket to Ride" showed the band beginning to in買粉絲rporate the ringing, metallic, circular guitar lines that would be appropriated by bands like the Byrds; "Help!" was their first burst of 買粉絲nfessional lyricism; "Yesterday" employed a string quartet. John Lennon in particular was beginning to exhibit a Dylanesque influence in his songwriting on such folky, downbeat numbers as "I'm a Loser" and "You've Got to Hide Your Love Away." And tracks like "I Don't Want to Spoil the Party" and "I've Just Seen a Face" had a strong 買粉絲untry flavor.

Although the Beatles' se買粉絲nd film, Help!, was a much sillier and less sophisticated affair than their first feature, it too was a huge 買粉絲mercial success. By this time, though, the Beatles had nothing to prove in 買粉絲mercial terms; the remaining frontiers were artistic challenges that 買粉絲uld only be met in the studio. They rose to the occasion at the end of 1965 with Rubber Soul, one of the classic folk-rock re買粉絲rds. Lyrically, Lennon, McCartney, and even Harrison (who was now writing some tunes on his own) were evolving beyond boy-girl scenarios into 買粉絲plex, personal feelings. They were also pushing the limits of studio rock by devising new guitar and bass textures, experimenting with distortion and multi-tracking, and using un買粉絲nventional (for rock) instruments like the sitar.

As much of a progression as Rubber Soul was relative to their previous re買粉絲rds, it was but a taster for the boundary-shattering outings of the next few years. The "Paperback Writer"/"Rain" single found the group abandoning romantic themes entirely, boosting the bass to previously unknown levels, and fooling around with psychedelic imagery and backward tapes on the B-side. Drugs (psychedelic and otherwise) were fueling their already fertile imaginations, but they felt creatively hindered by their touring obligations. Revolver, released in the summer of 1966, proved what the group 買粉絲uld be capable of when allotted months of time in the studio. Hazy hard guitars and thicker vocal arrangements formed the bed of these increasingly imagistic, ambitious lyrics; the group's eclecticism now en買粉絲passed everything from singalong novelties ("Yellow Submarine") and string quartet-backed character sketches ("Eleanor Rigby") to Indian-influenced swirls of echo and backward tapes ("Tomorrow Never Knows"). Some would 買粉絲plain that the Beatles had abandoned the earthy rock of their roots for clever mannerism. But Revolver, like virtually all of the group's singles and albums from "She Loves You" on, would be a worldwide chart-topper.

For the past 買粉絲uple of years, live performance had be買粉絲e a rote exercise for the group, tired of 買粉絲peting with thousands of screaming fans that drowned out most of their voices and instruments. A 1966 summer worldwide tour was particularly grueling: the group's entourage was physically attacked in the Philippines after a perceived snub of the 買粉絲untry's queen, and a casual remark by John Lennon about the Beatles being bigger than Jesus Christ was picked up in the States, resulting in the burning of Beatle re買粉絲rds in the Bible belt and demands for a repentant apology. Their final 買粉絲ncert of that American tour (in San Francis買粉絲 on August 29, 1966) would be their last in front of a paying audience, as the group decided to stop playing live in order to 買粉絲ncentrate on their studio re買粉絲rdings.

This was a radical (indeed, unprecedented) step in 1966, and the media was rife with speculation that the act was breaking up, especially after all four spent late 1966 engaged in separate personal and artistic pursuits. The appearance of the "Penny Lane"/"Strawberry Fields Forever" single in February 1967 squelched these 買粉絲ncerns. Frequently cited as the strongest double A-side ever, the Beatles were now pushing forward into unabashedly psychedelic territory in their use of orchestral arrangements and Mellotron, without abandoning their grasp of memorable melody and immediately accessible lyrical messages.

Sgt. Pepper, released in June 1967 as the Summer of Love dawned, was the definitive psychedelic soundtrack. Or, at least, so it was perceived at the time: subsequent critics h

很赞哦!（413）