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The Beatles
发行于1968年的原版黑胶唱片封面有凸印在白色背景上乐队名字和编号，由理查德·哈密尔顿设计。
披头士乐队的录音室专辑
发行日期1968年11月22日（英国）
1968年11月25日（美国）
录制时间1968年5月30日-10月14日
录音室伦敦EMI录音室和三叉戟录音室（Trident Studios）
类型
时长93:35
唱片公司苹果唱片
制作人乔治·马丁
披头士乐队专辑年表
Sgt. Pepper's Lonely Hearts Club Band
（1967年） 		The Beatles
（1968年） 		Yellow Submarine
（1969年）
披头士乐队北美发行年表
Magical Mystery Tour
（1967年） 		The Beatles
（1968年） 		Yellow Submarine
（1969年）

《The Beatles》，也被称为“白色专辑”（White Album），是披头士乐队的第九张录音室专辑，于1968年11月22日发行。该双碟专辑的纯白封套除了凸印的乐队名外没有任何图像或文字[a]，意指与前作《Sgt. Pepper's Lonely Hearts Club Band》鲜艳繁复的封面艺术形成直接对比。虽然专辑中没有歌曲在英美以单曲形式发行，但同一时期录制的歌曲《Hey Jude》和《Revolution》于同年8月作为单曲的两面发行。专辑中的歌曲风格各异，从英式布鲁斯（British blues）到斯卡，还有受海滩男孩和卡尔海因茨·施托克豪森影响的风格等。

专辑中大部分歌曲是在1968年3月和4月间创作的，当时乐队在印度瑞诗凯诗接受超脱静坐（Transcendental Meditation）课程。同年5月至10月，乐队回到伦敦EMI录音室录音。在录音期间，乐队成员之间爆发了口角，录音室里有人目睹了他们因创作上的分歧而争吵。列侬携带新伴侣小野洋子参与录音进一步激化了矛盾。经历了制作人乔治·马丁突然请假和工程师杰夫·埃默里克（Geoff Emerick）辞职等一系列波折后，鼓手林戈·斯塔尔在8月短暂退出乐队。乐队中紧张的关系一直持续到下一年，最终导致披头士于1970年4月解散。

《The Beatles》在发行后受到的媒体评价褒贬不一。尽管有一些人赞扬了列侬和麦卡特尼的写歌水平，但大多数乐评人认为其中的讽刺歌曲在当时动荡的政治社会气候中无关紧要、没有政治意义。乐队和马丁为该专辑应从双碟改为单碟而争论不休。虽然如此，它还是在英美两国的排行榜上登顶第一，自此被一些乐评人视为史上最伟大的专辑之一。

背景

编辑

到1968年，披头士已获得了商业和口碑上的双重成功。他们的上一张专辑《Sgt. Pepper's Lonely Hearts Club Band》在英国榜单上达到第一，在榜27周，发行后的第一周就售出了25万张[1]。《时代》杂志1967年的一文写道：“《Sgt. Pepper's》是音乐发展进程中历史性的新尝试。[2]”美国作家蒂莫西·利里认为披头士是“上帝派来的进化使者，被赋予造新人类的神秘力量。[3]”乐队的电影《搜游宝》（Magical Mystery Tour）收到了负面的专业评价，但歌迷对此的反响依旧很积极[4]。

 
1968年5月，收录于《The Beatles》中的歌曲在乔治·哈里森的家中被录制成小样。

《The Beatles》中的大部分歌曲是乐队在印度创作的，他们在1968年2月至4月到瑞诗凯诗接受玛哈瑞诗·玛哈士（Maharishi Yogi）的超脱静坐课程[5][6]。他们在隐居处进行长时间的冥想，视其为暂避世俗欲念的途径，用约翰·列侬的话说，这是一个“逃离所有事物”的机会 [7]。列侬和保罗·麦卡特尼很快重新开始了创作活动，经常在下午秘密地到对方房间交流各自的新作品[8]。列侬在日后回忆道：“我不顾当时该做的事，的确在那里写了一些我最好的歌。[9]”研究披头士的作者伊恩·麦克唐纳（Ian MacDonald）认为《Sgt. Pepper's》是由LSD塑造的[10]，但乐队去印度时没有携带除大麻外的其他毒品，他们清醒的头脑有利于歌曲的创作[11]。这段经历对乔治·哈里森创作生涯的影响尤其重大，当时正值他学习两年西塔琴后重拾吉他[12]。音乐理论家沃尔特·埃弗雷特（Walter Everett）把哈里森在1968年作为词曲作者的成长与列侬和麦卡特尼在五年前的成长作比。他还指出哈里森“私下里变得更高产了”，因为他在乐队中一直以来处于资历较浅的地位[13]。

披头士在课程结束前就离开了瑞诗凯诗。林戈·斯塔尔因无法忍受饭食第一个离开[14]；麦卡特尼在3月中旬离开[11]。哈里森和列侬对印度宗教更感兴趣，直到4月才走[11]。据传记作者乔弗里·朱利亚诺（Geoffrey Giuliano）所写，列侬离开的原因是他耳闻玛哈瑞诗对陪伴披头士来印度的女性有不轨行为，他感到自己遭到了背叛[15][16]。但麦卡特尼和哈里森后来发现这个传闻是不真实的[17]，列侬的妻子辛西娅也表示“没有一丁点的证据或辩解”[18][b]。

乐队在瑞诗凯诗创作的新歌一共有40首左右。1968年5月，其中的26首歌在哈里森在萨里郡的家金弗斯（Kinfauns）录制成粗糙的小样。列侬贡献了14首歌，在新内容中占了大部分[11]。列侬和麦卡特尼一起把小样带到录音室处理。一部分家录小样和在金弗斯的乐队活动后来被收录进1996年的合辑《Anthology 3》中[19]。

录音

编辑
 
The album was largely recorded at Abbey Road Studios.

《The Beatles》在1968年5月30日至10月14日期间录音，主要地点为伦敦EMI录音室，还有一些录音期在三叉戟录音室（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》的录音期是列侬生活上和艺术上的新伴侣小野洋子第一次出现在录音室。她陪他到EMI录音室录制歌曲《Revolution 1》[25]，自那以后差不多成了所有披头士录音期的常驻人员[26]。乐队在这之前通常是单独工作的，小野的到场打破了他们的习惯[27]。麦卡特尼当时的女友弗朗西·施瓦茨（Francie Schwartz）也出席了一些录音期[28]，其他两位成员的妻子帕蒂·哈里森和莫林·史塔基（Maureen Starkey）也是如此[29]。

乐队在该录音期间从四轨录音升级到了八轨录音。录音期开始时，EMI录音室有一台八轨录音设备，但还没有安装。那台机器据推断在储藏室放了几个月，因为EMI的政策要求新设备需经过大量调试后才能投入使用。披头士到三叉戟录音室录制了歌曲《Hey Jude》和《Dear Prudence》，因为那里有八轨录音机[30]。当他们了解到EMI也有一台后坚持要用它，工程师肯·斯科特（Ken Scott）和戴夫·哈里斯（Dave Harries）在没有得到上级批准的情况下把设备搬进2号录音室供乐队使用[31]。

披头士在该专辑制作期的末尾在EMI录音室进行了他们唯一一次24小时录音期，发生在专辑的最终混音和排序阶段。参与该录音期的有列侬、麦卡特尼和制作人乔治·马丁。不像大多数密纹唱片（LP），歌与歌之间没有惯常的三秒长间断，and the master was edited so that songs segued together, via a straight edit, a crossfade, or an incidental piece of music.[32]

队内矛盾

编辑
 
约翰·列侬和小野洋子的新恋情在录音室造成了与其他乐队成员的紧张关系。

专辑《The Beatles》是四位日渐各自为政、时常不和的音乐人的作品。李维森指出，有几个和声音轨没有全部成员的贡献，Lewisohn notes that several backing tracks do not feature the full group, and overdubs tended to be limited to whoever wrote the song.[33] 有时麦卡特尼会在一间录音室录很久，而列侬会在另一间录音，每人用不同的工程师[34]。后来，对乐队影响日渐式微的马丁突然自己离开去度假了，让克里斯·托马斯（Chris Thomas ）掌管制作[35]。列侬对小野的关注多过他对乐队队友的关注，两人沉溺于海洛因中，列侬的脾气愈加失控，这一切使工作状况十分困难[36]。

录音工程师杰夫·埃默里克自1966年的专辑《Revolver》起与披头士合作，他已对这一录音期不抱任何幻想。在录制《Ob-La-Di, Ob-La-Da》期间，埃默里克无意中听到马丁批评麦卡特尼的主唱表现，麦卡特尼回应道：“那你自己下来唱啊。[37]”7月16日，埃默里克宣布自己不愿再与他们合作后离开了[37]。

据作者彼得·多格特（Peter Doggett）所述，在乐队内部，“最关键的列侬和麦卡特尼两人间的沟通”已被小野在录音第一天的出现打断了[38]。披头士的传记作者菲利普·诺曼（Philip Norman）表示附和这一看法，评论道，乐队的两位主要创作人自一开始就轻视对方的新作品：列侬认为麦卡特尼的歌曲“甜腻平淡”，而麦卡特尼认为列侬的歌曲“粗糙不悦耳，故意地带有挑衅性”[39]。 哈里森和斯塔尔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，列侬和斯塔尔在3号录音室为歌曲《Yer Blues》录制原带配音，麦卡特尼在2号录音室加工歌曲《Mother Nature's Son》。当列侬和斯塔尔去麦卡特尼那里时，录音期的良好气氛立即消失了。工程师肯·斯科特日后说到：“当时的气氛僵硬得可以用把刀切下来。[34]”8月22日，在歌曲《Back in the U.S.S.R.》的录音期间，斯塔尔突然离开了录音室[43]。麦卡特尼对他在这首歌中打鼓的不断批评让他很沮丧，觉得自己在乐队中的角色没其他成员重要[44][45]。录音室工作人员日后表示斯塔尔来参加录音期时经常需要坐在接待区等其他成员露面[46]。斯塔尔出走期间，麦卡特尼在录制歌曲《Dear Prudence》时担任了临时鼓手。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]

列侬、麦卡特尼和哈里森恳求斯塔尔重新考虑。如他们所愿，他在9月5日回归，发现自己的架子鼓上装饰了鲜花[47]，这是哈里森欢迎他归来的表态[48]。麦卡特尼认为《The Beatles》的录音期是乐队的一个转折点，说：“那张专辑的制作期间产生了很多摩擦。我们在即将解散的临界点上，那个过程本身是很紧张的。[49]”列侬在后来说：“你可以在那张专辑上听到披头士的解散。[50]”专辑里30首歌曲中四位成员都参与的歌只有16首[c]。

歌曲

编辑

《The Beatles》中的音乐风格跨度很大，作者巴里·迈尔斯（Barry Miles）和吉利安·加尔（Gillian Gaar）认为它是披头士所有专辑中最多样化的[65][66]。这些音乐类型包括摇滚、布鲁斯、民谣、乡村、雷鬼、先锋派[67]、硬摇滚[68]和音乐厅风格[69]。和乐队自《Revolver》起的作品相比，该专辑的制作美学使它的声音减轻，不那么依赖录音室的技术创新[70]。作者尼古拉斯·沙夫纳（Nicholas Schaffner）认为这一变化反映了1967年流行的LSD影响下的迷幻潮流在那时大范围地退去。这样的处理手法由鲍勃·迪伦和海滩男孩首先采用，在1968年也被滚石乐队、飞鸟乐队等艺人模仿[71]。

在印度时，乐队身边可用的唯一一种西方乐器是民谣吉他，因此《The Beatles》中的许多歌曲是在民谣吉他上创作并第一次演奏的[72]。部分歌曲在最终发行时依旧是原声的，并仅由一名成员（或者非全部成员）完成录音，如《Wild Honey Pie》[73]、《Blackbird 》[74]、《Julia》[75]、《I Will》[76]和《Mother Nature's Son》[77])。

第一面

编辑

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

编辑

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

编辑

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

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"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]

单曲

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"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]

未发行的内容

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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]

发行

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专辑《The Beatles》于1968年11月22日在英国发行[141]，三天后在美国发行[142]。专辑的暂定名字为《A Doll's House》（意为“玩偶之家”），但英国前卫摇滚乐队家庭乐队（Family）在同年早些时候发行了标题类似的专辑《Music in a Doll's House》导致该名字被弃用[112]。沙夫纳在1977年写道：“自发行起，每个人都把专辑《The Beatles》称作‘白色专辑’。[143]”

该专辑是苹果唱片公司发行的第三张专辑，前两张为哈里森的《Wonderwall Music》和列侬与小野的《Two Virgins》[144]。马丁表示自己当时反对双碟专辑的主意，建议他们选择较强歌曲做成一张单碟专辑，但乐队没有采纳[141]。1990年代，斯塔尔在《披头士精选辑》电视节目的采访中说，他现在觉得它应该分成两张单独的专辑发行，一张叫“白专辑”，另一张叫“更白专辑”（The Whiter Album） [145]。哈里森在考虑后表示一些歌曲可以作为B面发行，但“当时乐队太自负了”[145]。他也支持双碟专辑的想法，这样可以清除掉乐队那时的歌曲库存。相比之下，麦卡特尼认为专辑现在这样的形式刚刚好，补充道：“这他妈的是披头士的白色专辑。闭嘴吧！[145]”

单声道版

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《The Beatles》是披头士最后一张为单声道和立体声版本分别混音的专辑[146]。单声道版仅在英国和几个其他国家发行。除了《Revolution 9》外，所有歌曲都有官方单声道混音版。the exception is "Revolution 9", which was a direct reduction of the stereo master.[34] 在这张专辑前，披头士对立体声没有特别的兴趣。在收到歌迷来信表示之前专辑的单声道和立体声版本他们两个都买后，乐队决定把两个版本做得有不同之处[147]。几首歌的两个混音版本长度不同：《Helter Skelter》的单声道混音版去除了结尾的淡入和斯塔尔在最后的喊话[117]，《Yer Blues》的淡出在单声道版中比立体声版长11秒[148]。

在美国，单声道专辑已被逐渐淘汰，美国版《The Beatles》是第一张仅有立体声版的披头士LP[149]。在英国，乐队的下一张专辑《Yellow Submarine》是他们最后一张单声道专辑[150]。2009年9月9日，《The Beatles》的单声道版作为《The Beatles in Mono》CD套装的一部分首次在全球范围发行[151] A reissue of the original mono LP was released worldwide in September 2014.[152]。

包装

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专业评价

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当时评价

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回顾评价

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文化影响

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据麦克唐纳所写，1960年代的反文化运动分析专辑《The Beatles》多过乐队先前的所有作品[47]。专辑中的歌词从意义模糊，可供开放式解读，到易被误解。例如歌曲《Glass Onion》中的一句“the walrus was Paul”（意为“海象是保罗”）[81]和《Piggies》中的“what they need's a damn good whacking”（“他们需要的是一次好好的重击”）[102]。专辑发行时正当列侬对辛西娅的行为以及他和小野合作的项目（尤其是《Two Virgins》）遭到公众谴责[153][154]。英国当局对披头士的态度也变得更不宽容[155]。1968年10月，伦敦缉毒警察因列侬和小野持有大麻而逮捕了他俩，列侬声称该项指控是错的[156]。基督教布道者大卫·内贝尔（David Noebel）认为歌曲《Back in the U.S.S.R.》的歌词进一步证明了披头士屈从了共产党，谋图洗脑美国年轻人[157]。

列侬歌曲《Revolution 1》的本意被曲解。列侬在歌词中建议那些“谈论破坏”的人“别算上我”（count me out）。他在唱完“out”后加了声“in”，使这句歌词变为了“count me out, in”。在法国发生五月风暴的背景下，这一举动被激进左派解读成列侬支持政治驱动的暴力[158]。列侬在《Revolution》中的非激进立场让新左派评论家感到被背叛了，他们指责专辑《The Beatles》没有提供一个政治议程[159]，指责披头士在1968年动荡的政治气候下利用折衷主义和东拼西凑来逃避重要的议题[159]。解放通讯社（Liberation News Service）的乔恩·兰多认为，乐队在《Piggies》和《Rocky Racoon》等歌曲中采用了戏仿的手法是因为他们“不敢面对现实”和“当下紧要的事”[160]。新左派的许多作者像兰多一样认为这张专辑落伍、无意义。他们转而赞颂滚石乐队同时发行的专辑《Beggars Banquet》，其被列侬的传记作者乔恩·维纳（Jon Wiener）称为“‘强力解答’，一部指向当代政治和社会斗争的音乐剧。[161]”

查尔斯·曼森在此前已声称在披头士的其他专辑的歌曲中发现了隐藏的含义[162]。他在《The Beatles》的几首歌中解读出了预言性的意思，包括《Blackbird》、《Piggies》、《Helter Skelter》、《Revolution 1》和《Revolution 9》[163]。他觉得这些歌词预示了即将来临的暴力或战争[164]。他为自己的追随者曼森家族反复播放了这张专辑，让他们相信这是一条预言受压迫种族起义暴动的天启信息[165]，类似《启示录》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]

商业成绩

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因上一张专辑《Sgt. Pepper's Lonely Hearts Club Band》的成功和近18个月没有发行新录音室专辑，对《The Beatles》的期望很高。专辑发行后于1968年12月7日初次进入英国排行榜就占据了第一的位置[174]，在竞争激烈的圣诞季在首位停留了七周[174]，直到在1969年1月25日被搜索者乐队（The Seekers）的《Best of the Seekers》取代，降到第二位。但它在一周后重返冠军宝座，又停留了一周[175]。披头士的下一张专辑《Yellow Submarine》发行时，《The Beatles》依旧在榜单上身居高位。它在英国榜上总共停留了22周，比《Sgt. Pepper》的149周短得多[176]。2013年9月，英国唱片业协会更改规则后，该专辑获得了白金认证，说明销量至少有30万张[177]。

该专辑在美国取得了巨大的商业成功。发行后的四天内，Capitol唱片卖给商店的张数超过了3.3百万[178]。专辑于1968年12月14日以第11名的位置进入公告牌二百强专辑榜[179]，之后跳到第二位，在第三周登顶第一[180]，并停留了九周。它总共在榜上停留了155周[181]。该专辑仅在美国就售出了9.5百万张[182]。美国唱片业协会授予了《The Beatles》19×白金认证，使它成为了披头士认证次数最多的专辑[183]。

曲目单

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

参与人员表

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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

销售认证

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地区 认证 认证单位/销量
阿根廷（阿根廷音像制品协会）[206]
标题为《Album Blanco》 		白金 60,000^
阿根廷（阿根廷音像制品协会）[206]
标题为《The White Album》 		金 30,000^
澳大利亚（澳大利亚唱片业协会）[207] 2× 白金 140,000^
加拿大（加拿大音乐协会）[208] 8× 白金 420,000^
加拿大（加拿大音乐协会）[208]
2009年发行 		金


法国（法国唱片出版业公会）[210] 金 257,600[209]
意大利（意大利音乐产业联盟）[211] 金 30,000*
新西兰（新西兰唱片音乐协会）[212] 2× 白金 30,000^
英国（英国唱片业协会）[213] 白金 300,000^
美国（美国唱片业协会）[214] 19× 白金 9,500,000^

*仅含认证的实际销量
^仅含认证的出货量

†BPI仅认证1994年后的销量[215]。

榜单表现

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Weekly charts

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发行历史

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国家 日期 厂牌 版式 产品样本号
英国 1968年11月22日 苹果唱片（Parlophone） LP PMC 7067/8（单声道版）
PCS 7067/8（立体声版）[248]
美国 1968年11月25日 苹果、Capitol唱片 LP SWBO-101（立体声版）[249]
全世界 1987年8月24日 苹果、EMI CD CDP 7 46443 8[250]
英国 1998年11月23日 苹果 CD（30周年限量纪念版） 4 96895 2[251]
日本 2004年1月21日 东芝EMI 重制版LP TOJP 60139/40[252]
世界范围再版 2009年9月19日 苹果 重制版CD 3 82466 2[253]
世界范围再版 2012年11月13日 苹果 重制版LP 3824661[254]
世界范围再版 2014年9月9日 苹果 重制单声道版LP 734535[152]

参考资料

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脚注
  1. ^ 早期发行的LP和CD上有独特的序列号。
  2. ^ 哈里森日后在自然法党（Natural Law Party）中与玛哈瑞诗重归于好[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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参考资料

组建

编辑

1966年，活跃在伦敦的录音室乐手吉米·佩奇加入了布鲁斯摇滚乐队雏鸟乐队，取代原贝斯手保罗·山姆威尔-史密斯（Paul Samwell-Smith）。不久后，佩奇从贝斯手转变为主音吉他手，与杰夫·贝克组成了双主音吉他阵容。在同年10月贝克离队后，雏鸟因不停地演出和录音疲态尽现，开始分崩离析。佩奇想要组建一个超级乐团，他自己和贝克弹吉他，谁人乐队的基斯·穆恩（Keith Moon）和约翰·恩奎斯特（John Entwistle）分别担任鼓手和贝斯手。歌手史蒂夫·温伍德和史蒂夫·马里奥特（Steve Marriott）也是潜在候选人。这个想法从未实现，但佩奇、贝克和穆恩的确在一起录了一首歌，名叫《Beck's Bolero》，贝斯手兼键盘手约翰·保罗·琼斯也参与了这首歌的录音。

雏鸟乐队于1968年7月在贝德福德郡鲁顿技术学院举行了最后一场演出，但他们依然手握在斯堪地纳维亚的几场演唱会的合同。于是，鼓手吉姆·麦卡蒂（Jim McCarty）和主唱基斯·雷尔夫（Keith Relf）授权佩奇和贝斯手克里斯·德雷加（Chris Dreja）使用“雏鸟乐队”的名号履行乐队未竟的任务。佩奇和德雷加开始招募新成员。特里·瑞德（Terry Reid）是佩奇的主唱第一人选，但他谢绝了邀请，举荐了欢乐乐队和霍布斯特韦（Band of Joy and Hobbstweedle）的歌手罗伯特·普兰特。普兰特最终接受了这个位置，并推荐了欢乐乐队前鼓手约翰·博纳姆。在德雷加退出乐队转行为摄影师后，琼斯在妻子的建议下询问了乐队的空缺位置。佩奇早已认识同为录音室乐手的琼斯，同意让他加入成为最后一名成员。

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