Give peace a chance

Народ, у меня такой вопрос : я тут качал себе очередной альбом Леннона с beatles.oko.ru, так наткнулся на такую интересную вещь - в авторах к песне "Give peace a chance" стоят Леннон-Маккартни. Я понимаю, конечно, что Маккартни к сочинению данного опуса никакого отношения не имеет, но всё же интересно, почему я уже не в первом источнике вижу биловский дуэт в авторах к этой песне ?

Друзья!предлагаю Всебщему вниманию и жду откликов на этот фрагмент нашей книги о Джоне которая дай Бог может быть выйдет в Челябинске.
Рецензия на эту песню:
Хорошо обдуманная попытка написать новый гимн о мире и свободе столь же универсальный как "We shall overcome". Песня записана в июне 1969 во время “bed-in” Джона и Йоко с маленькой хоровой помощью друзей и просто сочувствующих. Леннон и здесь не удержался чтобы не похохмить, смешав всё и всех в одну кучу и толпу: вещизм и онанизм, министров и канистры, профессора кислых дел Тимоти Лири, Смозерса и Купера (оба – комики и оба – Томми), барда Боба Дилана, пресс-начальника Дэрека Тэйлора,писателя-пацифиста Нормана Мейлера, поэта-битника Алена Гинзберга. Это был первый соло-сингл Леннона,выпущенный тем не менее с указанием как одного из соавторов Маккартни. Хорошая вещь для демонстраций и пивных.
Пол Маккартни о «Give Peace A Chance»:
«Я люблю эту песню за её ритмы и сентиментальность. А- ещё за её вокалиста. Джон проигрывал мне кассету с ней и я был просто ошарашен ритм-секцией, которую изображала толпа притоптывающих в такт людей. Знаете ли, в этом весь Джон».

Chords used:
EADGBE
Db: 446664
Ab7: 464544
Ab11: 444546
Ab13: 433334


Intro: Db
(Two, one two three four!)

Everybody's talking about Bagism, Shagism, Dragism, Madism
Ragism, Tagism, this-ism, that-ism, is-m is-m is-m

Ab7 Ab11 Ab13 Ab7 Db
All we are saying is give peace a chance
All we are saying is give peace a chance
C’mon

Everybody's talking about ministers,
Sinisters, Banisters.
And canisters, Bishops, Fishops,
Rabbis and Pop eyes, Bye bye byes.
All we are saying is give peace a chance,
All we are saying is give peace a chance.

Let me tell you now
Revolution, evolution, masturbation,
flagellation, regulation, integrations,
meditations, United Nations,
Congratulations.

All we are saying is give peace a chance,
All we are saying is give peace a chance.

Everybody's talking about
John and Yoko, Timmy Leary, Rosemary,
Tommy Smothers, Bobby Dylan,
Tommy Cooper,
Derek Taylor, Norman Mailer,
Allen Ginsberg, Hare Krishna,
Hare
Krishna.

All we are saying is give peace a chance
All we are saying is give peace a chance

Все болтают о вещизме, лохматизме, трансвеститизме, дуракизме,
Тряпизме, ярлыкизме, это-изме, тот-изме, изм-изме,
Мы же говорим лишь: «Дайте миру шанс»,
«Дайте миру шанс».

Все болтают о министрах, о плохистах, перилах,
Канистрах, епископах, рыбошопах, раввинах, пучеглазовинах.
Пока, пока.
Мы же говорим: «Дайте миру шанс»,
«Дайте миру шанс».

Позвольте сейчас огласить – все болтают обо всём:
Революции, эволюции, мастурбации, бичевации,
Регуляции, интеграции, медитации, Объединённые Нации.
Наши поздравления!
Мы же говорим лишь: «Дайте миру шанс»,
«Дайте миру шанс».
Все болтают о Джоне и Йоко, Тимми Лири, Розмари,
Томми Смозерс, Бобби Дилане, Томми Купере, Дереке Тейлоре, Нормане Мейлере,
Аллене Гинзберге, Харе Кришне, Харе-Харе Кришне
Мы же говорим лишь: “Дайте миру шанс”,
«Дайте миру шанс».

Если кто усмотрит ошибки-буду рад их исправить!Заранее-мерсибит!

До официального извещения о распаде группы все песни Леннона и Макартни по соглашению подписывались обоими именами. Give Peace A Chance - не исключение.

"Don't let me doooown
Is give peace a chance"
:)))

Sgt. Paper, всё класс! Можно еще добавить, что эта вещь была записана прямо в гостиничном номере, а затем продюссирована Спектором

немного не так было дело.
Тимоти Лири попросил написать для него песню для поддержки его избирательной компании - он собирался выставить свою кандидатуру на пост губернатора (штат щас не вспомню) - баллотироваться ему вроде не удалось - выставили очередное безумное обвинение и потом Лири попал в тюрьму (в очередной раз).
так что гимна в свою поддержку Лири не получил. получилась хорошая и главное очень важная песня - она сделала много хороших дел в USA. помогла остановить вьетнамскую войну и прочее.

а Пол в авторах значится потому что Джон в то время не мог разорвать творческий дуэт Леннон-Маккаттни - для него это было дико - в то время. творческий дуэт было разорван только после написания Джоном холодной индейки - Пол испугался что такая песня в которой он соавтор может повредить его репутации. А с Give Peace a chance все хорошо - Пол благодарен был всегда что Джон поставил(оставил) его как соавтора этой песни.

дополнение - если не путаю то песня записана в отеле в Торонто в Канаде
на портативной студии Джона. там в хор из монахов (какихто Христианских) еще там какойто важный священник был и хор кришнаитов из местного отделения Radha Krsna Temple - так в то время называлось Общество сознания Кришны. надеюсь не напутал ничего.

Rolling Stone:
Beatles Credit Feud Continues
McCartney's name removed from "Peace"
The ongoing songwriting credit battle between Yoko Ono and Paul McCartney was recently rekindled when Ono once again left the former Beatles' name off the song "Give Peace a Chance."
First released by the Plastic Ono Band in 1969, "Give Peace a Chance" appears on the new DVD Lennon Legend, and, as per the arrangement the songwriting duo reached forty years ago, it was previously credited to both men, despite Lennon being its sole author.
The credits to "Give Peace a Chance" have been in contention for decades. On the 1975 Lennon compilation Shaved Fish, the song was credited to Lennon/McCartney, but when the original Legend CD was released in 1997, McCartney's name was dropped, as it was on the 1998 John Lennon Anthology box set.
The exclusion of McCartney's name in 1997 and 1998 might have simply been an oversight, according to a spokesperson for Sony/ATV, which holds the song's publishing rights. "The change to listing it as solely a Lennon composition came within the past two or three years," the source said, without elaborating on who or what instigated the change.
As far as the performing rights organization ASCAP is considered, though, the song is still a Lennon/McCartney composition. "We have to be advised if the split is changed, which would be a good thing for us to know," an ASCAP representative said, noting that the performance royalties for the song are still split evenly until the organization is advised otherwise.
Last December, McCartney flipped the traditional Lennon/McCartney credits on nineteen Beatles songs on his live album, Back in the U.S. to read "Paul McCartney and John Lennon." At the time, McCartney said he rearranged the names only on the songs that he wrote without Lennon.
Ono's lawyer, Peter Shukat, told Rolling Stone at the time, "What he did was absolutely inappropriate. John and Paul had an agreement. This is very petty."
Ono added, "John and Paul often disagreed on which songs were written by whom. If John was here now, they could fight it out, or maybe they could never agree. But the important point is that John has to be here. He is not."
McCartney's contract with Capitol Records gives him control over the way songs are credited on his solo works, but credits on the Beatles' Apple Records have to be approved by the surviving band members or their estates. McCartney previously flipped the credit on five Beatles songs included on his 1976 Wings Over America live album.
The dual credit on "Give Peace a Chance" was Lennon's thank you to McCartney for his help on the sessions for the Lennon song "The Ballad of John and Yoko," according to Bruce Spizer, author of this year's The Beatles on Apple Records. Spizer says the subsequent credit change may have been a reaction to McCartney's flips on his live album.
"When Paul did his own things with Wings and when he flipped the credit on that solo album recently I'm sure Yoko felt the same rules applied to John's solo material," Spizer said. "Paul had nothing to do with the song, so perhaps her feeling was that he got a free ride all these years and it was no longer required to list it as Lennon/McCartney. That might be why you haven't heard anything from him on this."
After last year's squabble with Ono, McCartney agreed not to change any more credits in the future, which paved the way for the recent release of the Let It Be ... Naked reissue.
Beatles spokesperson Geoff Baker had no comment on the "Give Peace a Chance" attribution, and Ono could not be reached at press time.

Да, Give Peace A Chance, песня покаления, песня ураган, отличная.
Sgt. Paper дал исчерпывающую информацию, дабавить нечего, ну а свои домыслы гнать не хочу.

2Клим.:

>Да, Give Peace A Chance, песня покаления, песня
>ураган, отличная.
энергичная ,бодрая и объединяющая
ж аль, что ее не взяли себе в хиты футбольные фанты:)))

“John Lennon and the Flaming Red Rabbi” - Вместо имени Пола Маккартни в кредитах песни должно было стоять имя раввина Абрама Фейнберга - "хиппи 69 лет отроду"


Hip rabbi gave Lennon’s peace song a chance


A TELEPHONE number that was scrawled on a hotel envelope has provided an intriguing clue to how one of the biggest anthems of the anti-war movement was composed.
It led John Lennon to a rabbi who gave him the idea for the title and chorus of Give Peace a Chance. The song, written during one of Lennon’s famous bed-ins with Yoko Ono, his wife, gave the anti-Vietnam war movement its anthem and inspired a generation of peaceniks.

The phone number has surfaced in a lot to be auctioned this week: an envelope containing the original notes for the song.

Lennon wrote the hit single while staying at a Montreal hotel in May 1969. It propelled him into becoming one of the figureheads of the peace movement and led to his final break from the Beatles.

On Wednesday the Queen Elizabeth hotel envelope with the notes handwritten by Lennon on two sides will be auctioned by Bonhams. The auction house has set a cautious estimate of between ?175,000 to ?200,000 for the sale price.

The envelope contains 25 key words such as “bagism”, “shagism” “dragism”, “revolution” and the mis-spelt “evelotion” as well as eight names including “John and Yoko”, “Bobby Dylan”, “Tommy Cooper” and “Norman Mailer”, all of which are in the song.

But the important clue is the word “rabbi” next to the phone number of 783-9689. It belonged to Rabbi Abraham Feinberg, described at the time as a “hip 69-year-old” who had once worked as a singer.

The hotel has kept records of Lennon’s stay, which indicate that he called the number and the rabbi went to visit rock music’s most famous couple.

Lennon seized on a remark by the rabbi — “John, we really have to give peace a chance” — and realised that he could use it for his new song.

Feinberg is only now being credited as the main inspiration for the song. Joanne Papineau, head of public affairs for the hotel, said: “We’ve had hotel staff who have told the story over the years, but perhaps they have not really been listened to. Nobody put two and two together until this envelope turned up.”

Lennon set up equipment in his room to record the song. At one stage he planned to release it under the name “John Lennon and the Flaming Red Rabbi”. But others in and around the hotel heard of the plan. So instead of just Lennon and Feinberg singing, others, including Ono, Timothy Leary, the LSD guru, Petula Clark, the singer, Derek Taylor, who was press officer for Apple Records, and some members of the Canadian Radha Krishna temple, all joined in.

Celebrities such as Mailer and Dylan, whose names were on the envelope and in the song, are remembered even though they were not in the hotel. Cooper is also in the song, but simply because the British comic was admired by Lennon.

Ray Connolly, Lennon’s biographer, whose radio play Unimaginable about the murder of Lennon will be broadcast by Radio 4 on December 8, the 25th anniversary of the singer’s death, said: “John was always keen on hearing other people’s views. In a way the sense of the words of this song don’t really matter, but the sentiment certainly came over.”

In an interview for Rolling Stone magazine in 1970, Lennon said: “In my secret heart I wanted to write something that would take over from We Shall Overcome. I don’t know why that’s the only one they sang. I thought: why isn’t somebody writing one for the people now? That’s what my job is.”

Monday, November 14, 2005

40 years later, the secret is out

For all those who joined in on Give Peace a Chance, all we are saying is where are your voices? Sound engineer André Perry redubbed the original because most of the recording from the hotel was 'unusable'


It's easy - too easy - to be cynical watching hordes of teary-eyed baby boomers and their offspring listening to Yoko Ono spout her peace-and-love mantra. And yet, as the Festival of New Cinema's Claude Chamberland points out, it still beats all to heck the alternative war-and-hate message in vogue in parts of the planet.

Chamberland was among the hordes on hand to catch Ono last Tuesday at the Montreal Museum of Fine Arts for the opening of Imagine: The Peace Ballad of John & Yoko, an exhibition that also marks the 40th anniversary of Lennon and Ono's Bed-In at the Queen Elizabeth Hotel. And like many there, Chamberland, the amiable enfant-terrible then as now, was one of those Montrealers at bedside. (Although it has become a lot like Woodstock myth: if all the people who said they were in the room during the week of the bed-in were actually there, they would have filled every room in the Queen E.) It has been like old-home week for some '60s fossils. Who says nostalgia ain't what it used to be? The Imagine exhibit has brought together folk who haven't seen one another in decades, like Chamberland, Bill Rotari and André Perry, the latter two largely instrumental for getting the iconic Give Peace a Chance ballad from bed to disc.

In 1969, Rotari, a gentle giant of a figure with a massive mop of a Beatles-styled coif, was regional director of Capitol/EMI, which distributed Lennon's records here. A few days prior to Lennon's visit to Montreal, Rotari got a call from his head office telling him that John and Yoko were coming to stage their bed-in. Rotari was told that $10,000 was being transferred to the Queen E. for Lennon and to meet the ex-Beatle at the hotel suite when he arrived.

A few days later, Lennon informed Rotari that he wanted to record a song in the suite. Rotari had his A&R (artist and repertoire) director Pierre Dubord call every recording studio in town. All but one were closed for the weekend. Which is how André Perry, an up-and-coming sound engineer on the South Shore, ended up with the job of recording musical history.

"It seems like yesterday this all happened," says Rotari, and not in deference to the Beatles hit. "I didn't think I would get this emotional, but seeing Yoko and André after all these years has really touched me. I take my hat off to Yoko. She is the force behind a show that will touch the masses with a message.

"She has also finally gotten me into this museum," Rotari muses. "I'm not proud, but this is the first time I've ever set foot here. And if you listen closely to Give Peace a Chance, you can hear my vocals in the background." Rotari's singing credit cracks up Perry, also scoping the museum exhibit. Rotari, like Tommy Smothers, Petula Clark and others at the Bed-In, did indeed contribute back-up vocals and a cacophony of noises created by banging on the bed, floor, ceiling and gosh-knows-what on the original recording of the song. But unbeknownst to most, Perry later redubbed the original recording in his studio.

"I don't have the heart to tell Bill or the others, but most of the stuff recorded in the suite was unusable," Perry fesses up. "I transferred the recording from the original four to eight-track in my studio later that night. Mostly all that remained from the original were some voices, John and Yoko's, of course, and the guitar. John knew and was happy with what was re-recorded. But to this day, I don't think Yoko is aware that it was redubbed with other effects. I had no choice, though. It was like a circus in that room - so many nutty noises. It was out of control." Though obviously elated to have collaborated on the disc, Perry was hardly a neophyte. He had established himself recording the likes of Robert Charlebois and Jean-Pierre Ferland. A few years later, Perry opened his famed studio in Morin Heights, where he recorded David Bowie, Cat Stevens, Keith Richards, Tina Turner, Chicago and the Bee-Gees (Saturday Night Live).

"I hooked up with John in New York a few years later and he apologized for not recording with me there, but he said it was because of U.S. immigration problems. What he did do, though, which was unheard of then and now, is put my name and my studio's address on the Give Peace a Chance record." Almost lost in the shuffle was the flip-side of Give Peace a Chance, a tune called Remember Love. Perry came back to the hotel suite to record it, but only with John and Yoko. "It was a really sweet recording, and Yoko's vocals were excellent," recalls Perry, 71, now retired from the recording business. "They had such a bond. They really were in love. And working with John was great. He never told me what to do. He was such an engaging, intelligent man. He is much missed today. Hopefully, his message will always be kept alive." Tommy Schnurmacher, the CJAD talk-show host, was, frankly, more interested in the prospect of meeting a Beatle than Lennon and Ono's peace mission. So Schnurmacher, 18 at the time, used his wiles to try to meet the illustrious couple in their Queen E. suite. He fabricated a press pass and bought some crayons - knowing that Ono's daughter, Kyoko, was there. He also enticed a reluctant friend, Gail Renard, to come along for the adventure.

Schnurmacher and Renard avoided security and made it to the suite when the door opened. A security guard inside was about to give them the boot until Yoko and Kyoko appeared. The kid saw the crayons, and Schnurmacher and Renard not only made it into the suite, but served as Kyoko's babysitters - and art teachers? - for the week.

Schnurmacher touched base with Yoko last Tuesday. "We like to meet every 40 years," he deadpans. "It is really quite astounding that 40 years later there still remains this unbelievable international fascination with a bed-in that took place in Montreal. I am also fascinated by Yoko's consistency over the years. She is still as committed to the cause of peace, and it is totally sincere." There is an intriguing footnote to Schnurmacher and Renard's exploits. They were given autographed pictures of the couple and were paid $150 for their babysitting work. Renard also ended up with the handwritten lyrics to Give Peace a Chance, scrawled by Lennon.

Renard will probably go down as one of the most prosperous crashers in history. Last July, the Christie auctioneers sold the lyrics for her for $665,068 (U.S.). Schnurmacher's take: bupkes, nada, nothing. Surprisingly, he is not bitter, despite the fact she would have gotten bupkes if he hadn't persuaded her to tag along.

"That's who I am," he says. "And that's who she is." SSS Beverley Mitchell, former Gazette colleague, went one step farther than John and Yoko's other bedside visitors. Mitchell, who covered the event for the Montreal Star, went back to the John Lennon Suite (that's what it's called), for her own bed-in last Wednesday to celebrate her birthday with friends and family, all suitably attired in '60s frocks and hair-pieces (save for a few of us with still unruly locks). Actually it was Mitchell's quirky sister, Shannon, the L.A.-based editor of Californication and the United States of Tara, who arranged for the room.

"I had my share of exciting reporting adventures, but nothing can compare to the week I went to bed with John, then two days later, when I met with Prime Minister Pierre Trudeau to negotiate his joining the Bed-In," recalls Mitchell, while lounging on said bed. "True, I had to share the bed with Yoko and a frantic horde of sweaty newsmen and photographers." When Mitchell mentioned to Lennon that she was going to be covering an event in Ottawa two days later that Trudeau was to attend, Lennon asked her if she could recruit the PM to the cause. "So I invested a week's salary in a smashing ensemble with a plunging neckline and flirtatious lace trousers. When introduced to Trudeau, I spoke of Lennon's campaign to bring peace and love to the world and suggested that he, as a man of peace and love himself, could contribute to John's movement.

"Trudeau listened intently, then smiled warmly at me and said: 'I like your pants.' " Mitchell still has the lace pants tucked away. "They're too small for me to wear now," she sighs. "But I like to think they somehow contributed to world peace." bbrownst@ thegazette.canwest.com

© Copyright (c) The Montreal Gazette
http://www.montrealgazette.com/years+later+secret/1466168/story.html

пружинистый фанковый кавер 1970 года

в стиле реггей, Луи Армстронг, тоже в 1970 успел!

А вот ещё прикольная версия с участием Йоко и Шона

Джону Леннону - 82