Public beatles mania must be happy, because The developer, Harmonix, will be released a "RockBand:The Beatles".Rock Band video game is a game where we can play the withdrawal by a group of bands because of the joystick from the game in the form of guitar, drums and microphone. In this game we will play some songs with the beatles sound spectacular.
The latest news said that later on when this game will be released in the complete package with a bundle. The developer, Harmonix, will include a limited edition package for $ 250. The contents of this package include:
-The Beatles: Rock Band software
-Höfner Bass controller: the size of the original approach as used by Paul McCartney
-A Ludwig drum controller and a kick drum head vintage.
-Microphone
-Microphone Stand
-Additional special content
The developers do not play in managing this game. Also planned later in the game will be created a system where the singer can sing in harmony. Exactly as performed by The Beatles, the sound of one-two between John Lennon and Paul McCartney songs fill the The Beatles. With this system the game will be expected to become more alive.
In recent Paul McCartney concert at Coachella on Friday yesterday (april 17) give the audience a surprise by video snippets from this game. With the duration of the video for approximately 9 minutes this sepenggal we can see the animation of the most awaited game this year. The Harmonix will release this game on 9 September 2009.
I'm waiting for it.... hehehehe..... :)
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Wednesday, June 17, 2009
Tuesday, June 16, 2009
history a hard day's night and lyrics
A Hard Day's Night is a 1964 British comedy film written by Alun Owen starring The Beatles—John Lennon, Paul McCartney, George Harrison and Ringo Starr—during the height of their popularity. It was directed by Richard Lester and originally released by United Artists. The film was made in the style of a mock documentary, describing a couple of days in the lives of the group.
It was successful both financially and critically; it was rated by Time magazine as one of the all-time great 100 films. British critic Leslie Halliwell described it as a "comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book" and awarded it a full four stars. The film is credited with having influenced 1960s spy films, The Monkees' television show and pop music videos.
Here is the lyrics of a hard days night :
A hard day's night
It's been a hard day's night, and I been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright
You know I work all day to get you money to buy you things
And it's worth it just to hear you say you're going to give me everything
So why on earth should I moan, 'cause when I get you alone
You know I feel ok
When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight
It's been a hard day's night, and I been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright Owww!
So why on earth should I moan, 'cause when I get you alone
You know I feel ok
When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight
It's been a hard day's night, and I been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright
You know I feel alright
You know I feel alright
Read More......
Friday, June 12, 2009
About Yellow Submarine and Lyrics
Yellow Submarine is a song created by The Beatles in 1966, recorded by John Lennon, Paul McCartney, George Harrison and Ringo Starr. Although this song has been released on the Revolver album, this song became the title for the 1968 animated film produced by United Artists, which is also called Yellow Submarine. The song is also the title of the album from the film, released as The Beatles song catalog.
This song was good in the UK than in the United States. This song became the number # 1 song on the United Kingdom, and survive on the # 1 ranking for four weeks, and survive on track for 13 weeks. This song won the Ivor Novello.
Here is This yellow Submarine lyrics :
Yellow Submarine
In the town where I was born
Lived a man who sailed to sea
And he told us of his life
In the land of submarines
So we sailed up to the sun
Till we found the sea of green
And we lived beneath the waves
In our yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine
And our friends are all on board
Many more of them live next door
And the band begins to play
We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine
As we live a life of ease
Everyone of us has all we need
Sky of blue and sea of green
In our yellow submarine.
We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine
Read More......
Tuesday, June 9, 2009
songs inspired by revolver album
That is to say, songs obviously inspired by Revolver – there are many others which would not have featured a sitar but for “Love You To”, and which were surely written in the moment of excitement following hearing the album, but which do not sound like Revolver. It should also be noted that this list is entirely subjective: many people will listen to the songs below and shrug, unable to hear the slightest resemblance to anything on Revolver.
Ballroom, “Baby Please Don't Go” (1966) – featuring a droning, one-chord backing, and descending into a see of shuddering, howling tape loops and backwards vocals, Los Angeles production wunderkind Curt Boettcher turns this blues song into a harmony vocal version of “Tomorrow Never Knows”.
Bee Gees, “In My Own Time” (1967) – from their début album, a straight imitation of “Taxman”/“Rain”, in a style that would now be called “power pop”.
Chemical Brothers & Noel Gallagher, “Setting Sons” - Dig Your Own Hole (1996) – an electronic invocation of Starr's drumming on “Tomorrow Never Knows”, and Noel Gallagher singing through something like a Leslie speaker. For a detailed analysis of the similarities between the two tracks see the essay “Tomorrow Never Knows: the contribution of George Martin and his production team to the Beatles' new sound” by Kari McDonald and Sarah Hudson Kaufman
in Every Sound There Is, ed. Russell Reising (Ashgate, 2002)
Chemical Brothers, “Let Forever Be” (1999) – another “Tomorrow Never nows” imitation, but with something of the rhythm of “Taxman”.
Cotton Mather, “40 Watt Solution”, “Last of the Mohicans” –
The Big Picture (2002) – the former is yet another imitation of
“Rain” and “Tomorrow Never Knows” by an American band often
criticised for wasting their talents on straight-up pastiche of their
musical heroes.
Jam, “Start!”, Sound Affects (1980) – why didn’t the Beatles sue when Paul Weller borrowed the bass-line from “Taxman”? In a period when Weller was recording cover versions of “Rain” and “And Your Bird Can Sing” for fun, and using the rear cover of Revolver as some kind of sartorial manual, it’s no surprise that he felt the need to express his love for the album publicly in some way.
Kinks, “Dead End Street” (1966) – I wouldn't want to try to make Ray Davies admit it, but this track is inspired by “Eleanor Rigby” in mood, and in the mournful trumpet passages, though of course with a unique Kinks twist in the music hall bridge and chorus. Lee Mallory, “That's the Way it's Gonna Be” (1966) – more Revolverisms from Los Angeles producer Curt Boettcher. This time,
there are lyrics about rain, like “Rain”, and then a whole range of studio
tricks: varispeed, backwards tapes, and exotic instruments. This time,
however, it's a koto.
Monkees, “Salesman”, “Pleasant Valley Sunday”, “Daily Nightly” - Pisces, Aquarius, Capricorn and Jones Ltd. (1967) – it's surely no mistake that the former track, which happens to open this album, should be reminiscent of “Taxman” with its stinging rhythm guitar part. “Pleasant Valley Sunday”, which was also issued as a single, is an obvious attempt to imitate “Paperback Writer” in tempo, mood and, most noticeably, the twanging guitar riff. Finally, “Daily Nightly” is after “Tomorrow Never Knows”, with echoing, detached vocals,
“outerspace sounds” and backward tape all over it.
Pink Floyd, “Lucy Leave” (1966) – the group’s first demo tape in
late 1966 featured a re-recording of this 1965 Syd Barrett R&B tune
with a new guitar solo, this time very clearly Indian sounding, in an
obvious response to Revolver.
Rolling Stones, “My Obsession”, “Connection” - Between the Buttons (1967) – the drums on the former track, recorded in August 1966, are virtually identical to “Taxman”, and the vocal harmony climaxes throughout the song are reminiscent of “Rain”. On the latter track, the guitar which answers Jagger's vocal is surely an imitation of “And Your Bird Can Sing”.
Rolling Stones, “Child of the Moon” (b-side of “Jumpin' Jack Flash”) (1968) - a late effort from the Stones, a “Rain” pastiche recorded two years after the “Paperback Writer”/“Rain” single was released – evidence, if evidence be needed, that “Rain” was ahead of its time.
Rutles, “Joe Public” - Archaelogy (1996) – the first Rutles album, All You Need is Cash, jumped straight from perfect pastiches of Help! era Beatles to perfect pastiches of Sgt. Pepper era Beatles. This track fills in that gap.
Utopia (Todd Rundgren), “Life Goes On”, “Take it Home” – Deface the Music (1980) – a pastiche of “Eleanor Rigby”, with synthesised strings, and an attempt to imitate a Revolver or Rubber Soul era rock tune.
Who, “Disguises” (1966) – another “pocket Revolver”, with a “Taxman” / “Rain” inspired bass-line, swirling, pounding “Tomorrow Never Knows” backing, Eastern-tinged sneering vocal, and heavily compressed sound.
Zombies, “A Rose for Emily” - Odessey and Oracle (1967) – musically similar to “For No One”, with touches, both lyrical and musical, of “Eleanor Rigby”.
Read More......
Ballroom, “Baby Please Don't Go” (1966) – featuring a droning, one-chord backing, and descending into a see of shuddering, howling tape loops and backwards vocals, Los Angeles production wunderkind Curt Boettcher turns this blues song into a harmony vocal version of “Tomorrow Never Knows”.
Bee Gees, “In My Own Time” (1967) – from their début album, a straight imitation of “Taxman”/“Rain”, in a style that would now be called “power pop”.
Chemical Brothers & Noel Gallagher, “Setting Sons” - Dig Your Own Hole (1996) – an electronic invocation of Starr's drumming on “Tomorrow Never Knows”, and Noel Gallagher singing through something like a Leslie speaker. For a detailed analysis of the similarities between the two tracks see the essay “Tomorrow Never Knows: the contribution of George Martin and his production team to the Beatles' new sound” by Kari McDonald and Sarah Hudson Kaufman
in Every Sound There Is, ed. Russell Reising (Ashgate, 2002)
Chemical Brothers, “Let Forever Be” (1999) – another “Tomorrow Never nows” imitation, but with something of the rhythm of “Taxman”.
Cotton Mather, “40 Watt Solution”, “Last of the Mohicans” –
The Big Picture (2002) – the former is yet another imitation of
“Rain” and “Tomorrow Never Knows” by an American band often
criticised for wasting their talents on straight-up pastiche of their
musical heroes.
Jam, “Start!”, Sound Affects (1980) – why didn’t the Beatles sue when Paul Weller borrowed the bass-line from “Taxman”? In a period when Weller was recording cover versions of “Rain” and “And Your Bird Can Sing” for fun, and using the rear cover of Revolver as some kind of sartorial manual, it’s no surprise that he felt the need to express his love for the album publicly in some way.
Kinks, “Dead End Street” (1966) – I wouldn't want to try to make Ray Davies admit it, but this track is inspired by “Eleanor Rigby” in mood, and in the mournful trumpet passages, though of course with a unique Kinks twist in the music hall bridge and chorus. Lee Mallory, “That's the Way it's Gonna Be” (1966) – more Revolverisms from Los Angeles producer Curt Boettcher. This time,
there are lyrics about rain, like “Rain”, and then a whole range of studio
tricks: varispeed, backwards tapes, and exotic instruments. This time,
however, it's a koto.
Monkees, “Salesman”, “Pleasant Valley Sunday”, “Daily Nightly” - Pisces, Aquarius, Capricorn and Jones Ltd. (1967) – it's surely no mistake that the former track, which happens to open this album, should be reminiscent of “Taxman” with its stinging rhythm guitar part. “Pleasant Valley Sunday”, which was also issued as a single, is an obvious attempt to imitate “Paperback Writer” in tempo, mood and, most noticeably, the twanging guitar riff. Finally, “Daily Nightly” is after “Tomorrow Never Knows”, with echoing, detached vocals,
“outerspace sounds” and backward tape all over it.
Pink Floyd, “Lucy Leave” (1966) – the group’s first demo tape in
late 1966 featured a re-recording of this 1965 Syd Barrett R&B tune
with a new guitar solo, this time very clearly Indian sounding, in an
obvious response to Revolver.
Rolling Stones, “My Obsession”, “Connection” - Between the Buttons (1967) – the drums on the former track, recorded in August 1966, are virtually identical to “Taxman”, and the vocal harmony climaxes throughout the song are reminiscent of “Rain”. On the latter track, the guitar which answers Jagger's vocal is surely an imitation of “And Your Bird Can Sing”.
Rolling Stones, “Child of the Moon” (b-side of “Jumpin' Jack Flash”) (1968) - a late effort from the Stones, a “Rain” pastiche recorded two years after the “Paperback Writer”/“Rain” single was released – evidence, if evidence be needed, that “Rain” was ahead of its time.
Rutles, “Joe Public” - Archaelogy (1996) – the first Rutles album, All You Need is Cash, jumped straight from perfect pastiches of Help! era Beatles to perfect pastiches of Sgt. Pepper era Beatles. This track fills in that gap.
Utopia (Todd Rundgren), “Life Goes On”, “Take it Home” – Deface the Music (1980) – a pastiche of “Eleanor Rigby”, with synthesised strings, and an attempt to imitate a Revolver or Rubber Soul era rock tune.
Who, “Disguises” (1966) – another “pocket Revolver”, with a “Taxman” / “Rain” inspired bass-line, swirling, pounding “Tomorrow Never Knows” backing, Eastern-tinged sneering vocal, and heavily compressed sound.
Zombies, “A Rose for Emily” - Odessey and Oracle (1967) – musically similar to “For No One”, with touches, both lyrical and musical, of “Eleanor Rigby”.
Read More......
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