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- Seriously Funny: The Rebel Comedians of the 1950s and 1960s!
- Golden Slumbers.
Or do you simply want to leave a comment? Please use the form below! This site uses Akismet to reduce spam. Learn how your comment data is processed. Song facts From Wikipedia: Recording McCartney was the lead vocalist. Lyrics Once there was a way to get back homeward Once there was a way to get back home Sleep pretty darling do not cry And I will sing a lullaby Golden slumbers fill your eyes Smiles awake you when you rise Sleep pretty darling do not cry And I will sing a lullaby Once there was a way to get back homeward Once there was a way to get back home Sleep pretty darling do not cry And I will sing a lullaby.
Piano, Vocals Ringo Starr: My daughter was born two nights ago. I played this song for her while I was holding her as she stared at me. I think its likely that Paul wrote Golden Slumbers as he would any other tune — i. But, like the Beatles, the past — our past — it goes who knows where. It makes me want to weep. I love this song. The instrument listing has George as the bassist.
That may be problematic. If you watch the Beatles Anthology, you can see Harrison, McCartney and producer George Martin listening to the original tapes on the mixing board. It was so subtle and restrained. A delicate performance, sustaining the piano. As for George H. The song is widely loved and allows each person to interpret it how best they see fit. This is just my two cents. I agree most closely with charlie.
Even though Paul technically broke up the group with the release of his solo LP, McCartney, he was the group member that most wanted the Beatles to go on. By the summer of , when Abbey Road was being recorded, I think he had resigned himself to the reality that John was not going to let that happen. Then when Paul sings the repeat of the first four lines, it sounds like he is nearly in tears. And though few knew it when the album came out, The End was intended as the swan song, beautifully done, and elegantly stated, as Ringo did his drum solo, and Paul, George, and John traded their guitar solos of two measures each in three rotations impressively in one take.
And in the end the love you take is equal to the love you make. And the band walks off the stage as a unit forever…though not before Paul peeks his head back out and winks with Her Majesty.
Those old enough to remember the night John Lennon was killed probably remember many details about what they did and how they felt. I instinctively wanted to hear this medley of three songs, reflecting sadness, rage, and eventually reluctant acceptance of the reality. I like your take. I also see the song as a reminder that, in the end, it is not what happens to you, but your inner response to it, that makes the next imaginable thing, the carrying on, possible. Beautiful Paul McCartney song.
I can understand someone else saying that it always makes them cry. Wonderful vocals by McCartney. The entire medley stands alone and most likely will never ever be surpassed at least not in my lifetime. We then realise that this is what life was about and what bring true happiness, and not what we thought made us happy ie greed ignorance and possessions. But I will see her again.
I just to sign to her lullaby s in Spanish. She was my old little girl.?? The home remains, even the sense of belonging may linger, but you are no longer part of it. You feel almost as a foreigner in your own home and you will carry that lack of home until you create it anew with YOUR own family i. Until then you will have to carry that weight of no longer belonging in your own childhood home.
Notes on "Golden Slumbers"
Beautifully thought out and perfectly illustrates the way McCartney would hide his true feelings inside his lyrics. McCartney was the one most emotionally crushed by the breakup so it makes sense he would express this and point the finger at John in masked lyrics. What a beautiful piece of writing and what wonderful moving comments… about a great musical composition, indeed. It is more serious, violins, orchestration and such.
The Beatles, when they were serious, and not just pop entertainment, were utterly brilliant, and this composition really shines in that light. This is a rhetorical and allegorical lullaby as I envision it, more directed at older adults. We think back to childhood, yes… and we may sing a lullaby to our children… but this is more self-directed.
I see this as universal, as philosophical, and not so much as about the Beatles, but as about what all people feel when they confront themselves, as children they once were. In the light of such memories, and even as death, awaits… and mortality is revealed, there is contentment, even joy, in contemplation, and of reliving these childhood sensations. So perhaps rather than sadness, one may feel joy, indeed, happiness, in this composition. I suggest that listening to the composition, detached from the original album, may also provide great joy.
Thanks to all who wrote about this deeply philosophical composition… Cheers! People say that Hollywood stars sell their souls to the devil for their fame and fortune. Train your ear, I encourage you, to zero in on, and isolate such phenomena in your head when you listen to this and other recordings. The source tape for this delightful rarity sustained some unfortunate damage at the place of the first line of the refrain, inevitably presenting Paul's vocalization of the dramatically declaimed title phrase with a painful, out-of-key, wavering of pitch and tempo.
Just the like the lost secret for how to get back home described in the lyrics, you'll find that once you've ever heard this outtake, you'll never be able to listen to the title phrase of this track on the official version with the same kind of emotional trust fall you're used to throwing into it.
There's enough genuine quiver in even the official recording that you'll find yourself forever bracing against the eventuality of the dreaded awful wobbling of the outtake. This article may be reproduced, retransmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. The completely diatonic tune is replete with wide-ranging arch-like gestures.
The backing track features piano, bass played by George! A moderate amount of fussiness is applied to the instrumentation:. The intro consists of two measures of the piano vamping on the tonally ambiguous a-minor seventh chord in a rocking figuration. I'm parsing this with a rapid quarter note beat in order to avoid needing to resort to odd half measures when the phrase lengths become uneven later on:.
Paul leaves the note, E, out of the chord, giving us just the sound of the open fifth C - G alternating with the single note A below it; only further heightening the tonal ambiguity of the moment.
Think of it as a purposeful distortion of what otherwise could have easily been an ordinary sixteen measures 4 by 4 design:. The harmonic rhythm is extremely varied; most liesurely in the first two phrases, speeding up radically in the third phrase, and settling for a middle ground in the final phrase. Look out for melodic sixths, most of which are leaps:. And one of which is a hidden upward scale; follow the bouncing asterisks below.