John Lennon Abbey Road Interview, Pt.1 (Remastered)

T: Hi,
托尼：嗨
this is Tony McArthur in London with John Lennon.
我是托尼麦卡锡（Tony McArthur），在伦敦和约翰列侬一起。
Every time the Beatles release an LP or a single
每当披头士发行唱片或单曲时
the pop music business usually changes direction.
都会引起流行音乐商业趋势的变化。
The change instigated by the latest contribution
而近来由《艾比路》引起的变化
Abbey Road must certainly be noticed.
一定是值得注意的。
In the show John exclusively discusses
在此次节目中，
the new Beatles collection track by track!
约翰将会专门对披头士最新专辑中的每个单曲进行逐一地讨论。

托尼：嗨，约翰。
T: Hi, John(?).
第一首单曲是由你贡献人声的
The first track on LP is the Come Together song
”Come Together“。
which is your vocal and
事实上这也是你写的歌。（约翰：是的）
in fact you wrote the song as well.(J:Yes.)
我听说这将会成为下一个美国单曲。
I’ve heard it supposedly would be the next American single.
约翰：现在要说的话，这首可能会放到B面里去，
J: Now, if anything, it might be the B-side
而且我觉得也许会把”Something“拿出来
and I think probably we’ll put Something out
作为单曲发行。
as single out there.
那大概是专辑里最好的一首歌了。
I think that’s about the best track on the album,
而且是乔治的。
the George’s track.
你知道的，总会有些人
And they had it... you know how they always
在美国发行之前就把唱片弄得手了。
get our records before they are out over there somehow.
像是在英国安插了间谍似的，专门给他们送磁带。
We’ve got spies in England who send them the tapes.
他们播放“Something”太多次
And they were playing Something so much
以至于有了一些先进
they had an advanced thing of it,
又炽热的东西。
a red-hot of thing(?) over there.
所以我们也许会让这首歌在美国
So we’ll probably release it
以单曲发行。
over there as an single.
但我不知道在英国会如何。
I don’t know what will happen here.
托尼：就整个乐（{的创作）而言，

这首“Come Together”相当不一样。
T: The Come Together side is
约翰：“Come Together”？
a fairly different song as far as the group’s concerned.
托尼：是的。
J: The Come Together track.
约翰：我不知道我是怎么写成这首歌的，
T: Yeah.
我认为这首歌很独特。
J: I don’t know how that happened y’know.
我有些偏见倾向，因为这是我写的歌。我写歌，探索，
I think it’s pretty funky y’know.
然后就是这样写成的。
I’m biased cause it’s my song. I dig it, y’know.
在专辑里面这首歌就很棒。
And it just happened well y’know.
托尼：这首歌开头的音效究竟是什么呢？
It’s a nice funky song on it.
一会我们将会听到。就是这首歌的开始，
T: What was the effect that runs off from the beginning?
有点儿像口哨……
We’re gonna hear it. It runs off from the beginning.
约翰：喔，就像我这样，录制磁带的时候，嗤嗤……
It’s sort of whistling to ...
托尼：也就是进行压缩吗？
J: Oh it’s me going schhh~shh~ on tape record(?)
约翰：不，不是压缩。
T: And it’s sort of compressed then, is it?
就像穿过我的手这样，嗤……
J: No, it’s not compressed.
托尼：不错。接下来
It just sort of goes Schh~ through my hands like that.
请听“Come Together”。
T: Great. We’ll hear the record now.
托尼：下一首是我们一分钟前谈论过的，
Come Together.
也就是“Something”。
T: The next track is the one we were talking about
以及我的确同意，
a moment ago, which is Something.
专辑里乔治的歌
And I’m sure I agree that
（和“Come Together”一起）写出来可能是最具有商业性的。
both George’s songs on this LP
你认为这是一件好事吗？
were probably the most commercially written.
约翰：我觉得这是好事。
Is that a good or bad thing?
因为它们不是那种随俗的商业品。
J: I think it’s very good y’know.
那两首歌都很酷。
Because they are not sort of the good commercial y’know.
托尼：确实。我可以想象
They are still funky tracks, both of them.
这专辑里的单曲
T: Yes, well. I’d imagine there’ll be
会有很多翻唱版本……
quite a few cover versions as always,
约翰：不，我们会第一个翻唱。
y’know, for singles of this LP. Would it seem...
这才是关键。你懂的，翻唱Something。（托尼：哈哈哈）
J: No, we’ll get the first cover out,
托尼：这将会传遍美国的。
this is the point y’know,Something . (T:hhh)
约翰：White Trash乐队已经做了……
T:That will be (?) around America.
等等，是什么来着？
J: White Trash(a band?) have just done a...
喔，“Golden Slumbers”，
Oh, what’s the one?
B面的那个，
Oh, Golden Slumbers,
是组曲的一部分。
from the B-side of the track,
制成了一个不错的版本。
part of the sort of the medley part,
现在我们添给那个 White Trash乐队了。
so that makes a quite good version.
托尼：为什么不？好的，这是乔治的歌，
Now get plugged in for the White Trash.
叫“Something”。
T: Why not? OK, it’s George’s song.
托尼：喔这首……
It’s called Something.
如果纵观整个唱片专辑的话

你会发现这是保罗的第一首歌
T:Oh this is...
“Maxwell’s Silver Hammer”，这首歌……
If you go through the LP from top to bottom,
我不知道该如何形容，
it’s Paul’s first contribution,
它是非常典型的保罗之作，
Maxwell’s Silver Hammer, which is umm...
不是吗，约翰？
I don’t know,
约翰：对，这就是典型的麦卡特尼跟唱曲，
it’s fairly typical of a lot of songs Paul’s written.
或者你怎样称呼都可以。
John, is it?
他在这上面确实做了很多工作，
J: Yes. It’s a typical McCartney sing-along,
我当时……
whatever you call them.
他们做成大部分音轨的时候我出了事故生病了。
He did quite a lot of work on it.
我相信他录这首歌的时候
I was in...
把乔治和林果整疯了。
I was ill after the accident when they did the most of that track.
托尼：很显然你们忙于
And I believe he really ground
各种庆祝活动。
George and Ringo into the ground recording it, y’know.
在这个专辑之中
T: Now that you’re all obviously occupied in
是否有一些音轨
diverse fesitive(?) business, y’know.
是完全由你制作的吗？
Are there any tracks anyone of you
或者是多人完成的？
sort of have done it on your own,
约翰：没有，我没有参与“Maxwell”的制作。
completely on your own on this LP?
我应该是参与了别的歌曲，
Or have they been collective efforts?
就是这样。
J: No, not really. I wasn’t on Maxwell.
托尼：好的，以上是保罗麦卡特尼创作的“Maxwell’s Silver Hammer”。
Think I was on everything else, y’know.
托尼：约翰，这似乎是一个非常强烈的旋律，
It was just a way for that.
呃…我想你们的音乐一直都是。
T: OK. Maxwell’s Silver Hammer, Paul McCartney.
但和其他现行的音乐相比起来，

《艾比路》有很多非常强烈的旋律。
T: It seems, John, that this is a very strong melodic...
我认为这可能就像众人所说的那样，
Umm, I thought it always has been, your music.
在你们的最后一张唱片里有着很强的电子感，
But in the context of other music that’s going on today,
或者是在Pepper专辑里。
Abbey Road has got a lot of very strong melody lines.
约翰：也许吧，我不知道。
And I think it’s, probably known as,
约翰：最后我想在这里……？你知道的。
powerful electronic as say, your last LP,
托尼：确实、约翰：不确定。
or the Pepper, I think.
托尼：当然。下一首歌

是“Oh Darling”。
J: You know, maybe, I don’t know, y’know.
约翰：喔，这个……
J: ??the end I want here(?）, y’know.
托尼：像是58年的作品，不是吗？
T: True, oh yeah. J: ??Not really
约翰：是的。我们挺喜欢的，
T: Yeah. Of course. This track, the next one,
“Oh Darling~”
Oh Darling, is...
托尼：这跟你最近在加拿大的活动有关系吗？
J: Oh yeah, that’s uh...
还是……
T: Sort of 58 job, is it?
约翰：我复兴了摇滚，
J: Yeah. We like that stuff, y’know.
那可是个奇妙的场景。
Oh Darling~
托尼：当时到底发生了什么吗？
T: So this probably ties in with your recent act(?) in Canada,
还是只是个常规的摇滚表演？
or you really got...
约翰：是的，有Chuck Berry，Bo Diddley，Jerry Lee Lewis，
J: I’ve got rock’n’roll revival, oh yeah.
Little Richard还有其他摇滚先驱，
It was a fantastic scene.
以及塑胶洋子乐队，
T: What actually happened there?
包括了我，洋子，Eric Clapton，
Was it just regular rock’n’roll type of constants(?)...
Klaus Voorman（贝斯），the man’s of man，
J: Yeah. Chuck Berry, Bo Diddley, Jerry Lee Lewis,
和Alan White，或者是Alan Price，
Little Richard, and the others(?)
他本名是Alan Price（鼓）
and Plastic Ono Band,
托尼：你们表演的都是摇滚乐吗？
which is me, Yoko, Eric Clapton,
约翰：从Nitty Gritty开始的，
Klaus Voorman(bass), the man’s of man(?)
我不知道一些歌的歌词，
and Alan White (drums) or Alan Price,
（Nitty Gritty）就提出了我熟悉的50年代歌曲
or ex-Alan Price.
“Blue Suede Shoes”。
T: And you did all rock’n’roll songs?
所以我们演奏了Blue Suede Shoes, Money， Dizzy (Miss Lizzy)。
J: Well, when it gets starts at Nitty Gritty,
我们没有机会演奏
I don’t know the words to any songs,
我们的新歌“ Cold Turkey”。
who ended up I know Blue Suede Shoes,
我们告吹了。
from the 50s y’know.
那首歌其实很好的。
So we did Blue Suede Shoes, Money, Dizzy (Miss Lizzy).
（洋子：他并不是……他不是在复兴，
We didn’t get a piece of chance on our new songs,
他只是在……）
on our great Cold Turkey.
约翰：我们试图在这首歌里有一些突破，而且你也能听到的。
We really blew(?) it, y’know.
但结果是我们被接手的洋子完全吓到了，
It’s great singing it.
Eric还有我们所有人
(Yoko: He wasn’t good(?) about it. He wasn’t like(?) revival,
都尽可能地
but he begins just like...(?)
调高了放大器
J: We progressed it, the things we always progress it was on it, y’know.
托尼：以及……
But it ended like we got completely freaked out
有关于这些的排练吗？
with Yoko taking over, and Eric and all of us
约翰：我们在飞机上排练了，
just blowing the amplifiers
但听不到任何声音，
as much as they go y’know.
因为没有放大器。
T: And uh...
之后我们就直接在后台
Was there any rehearsal involved in this, or you just ???...
依次排练了一次，
J: We tried to rehearse on the plane as possible,
不过那些音乐人真的很出色，
but we couldn’t hear a thing
他们找到了感觉，懂我意思吗。
because we didn’t have the amps.
托尼：这有没有可能会成为
Then we did one run-through at the backstage,
永久塑胶洋子乐队的一个核心组成部分？
right through the numbers once.
约翰：嗯……也许吧。
But the groups was so funky,
我的意思是每个人都有自己的合同，
they just picked it up y’know.
我认为Eric就是这样。
T: And is there any chance of this being a nuclear
但我觉得塑胶小野乐队会是一个非常灵活的乐队，
sort of the permanent Plastic Ono Band or...?
因为它就是塑料的。
J: Uhh... It could be, y’know.
托尼：哈哈哈，这很有可能，
But I mean everybody sort of contracted
但塑胶小野乐队现在
or things like that. I suppose Eric was.
确实存在了。
But I suppose Plastic Ono Band could be pretty flexible y’know,
约翰：是的，我们会一直干到厌倦为止。
because it is plastic.
托尼：这样。约翰：现在我还是很享受。
T: Hhhh. But it’s quite possible.
我们毫无计划，
It’s kinda be a reality from now on,
两个人聚在一起，仅此而已。
the Plastic Ono Band.
看看有谁不能来，有谁能来，和我一起演奏。
J: Yeah, until we get fed up with it, y’know.
然后我就找来了那些人。
T: Yeah. J: I’m enjoying it at the moment.
托尼：披头士还有机会再次演出吗？
We make no plans to go around(?).
约翰：我不知道，但总会有机会的。
Two guys rank up(?) and that’s all.
不过如果要说披头士现场表演，就是另一回事了。
Who cannot get... who can come along and play live with me, y’know.
因为要达到人们所期望的那样演出，是个很困难的事。
And then there were the guys.
不过对我跟洋子来说就不一样，
T: Is there any chance of the Beatles playing live again?
不管我们怎么做都可以。
J: I don’t know. But there is always a chance, y’know.
约翰&托尼（同时地）：我希望。托尼：哈哈哈。
But if the Beatles’s playing live, it is a different matter.
托尼：好，那么现在
We’ve got that great thing to live up to. It’s a harder gig.
来听一听保罗的“Oh Darling”
But just for me and Yoko to go out,
托尼：下一个曲目是林果的，“Octopus’s Garden”
we can get away with anything.
这让我想到了卡通电影《Yellow Submarine》。
J&T: (simultaneously) I hope. T: Hhhh.
约翰：是的，冒着泡泡，
T: Right. We get back to the business
因为就是在海底。
with the Oh Darling track from Paul.
托尼：这确实是他的作品吗？
T: Ringo’s track is the next one, the Octopus’s Garden,
没有其他和黄色潜水艇相关的地方吗？
which reminded me for some reason of the Yellow Submarine, cartoon film.
约翰：是的。除了关于海底
J: Yeah, that thing is the bubble bubble y’know,
并且要逃离陆上的一切以外。
the factor that is under the sea bit,
托尼：事实上这是该专辑唯一一首林果的歌。
T: I suppose it was his really(?)?
约翰：是的，林果花了几年的时间
It doesn’t have other collection(?)?
才赶上我们（列侬和保罗）写歌的速度。
J: No, except that it’s about the bottom of the sea y’know,
乔治也花了几年的时间。
getting away from it all.
托尼：据我所知，这是本专辑里
T: And this is in fact the only song that Ringo wrote on the LP.
林果唯一献唱的歌曲？
J: Yeah. Well, it’s been a few years before
约翰：对，他也在各种曲目里做和声，
his production is going as fast as ours.
因为我不在的时候，
It took George a few years.
他们会录制一些和声在组成曲里面。托尼：这倒也是。
T: And is this the only track on this LP
约翰：所以我认为林果也参与了各种和声。
that Ringo sings on as well as I know?
托尼：这非常的……适合跟唱。
J: Yeah. I think he’s done a bit harmony here and there,
约翰：林唱，跟唱，哈哈！
cause at the time I was away they laid
托尼：歌声也非常不错。“Octopus’s Garden”。
a few harmony tracks on some of the medley bit. T: Oh yes.
托尼：“I Want You (She’s so Heavy)”约翰：对。
J: So I think Ringo’s doing a bit of harmony here and there, too.
托尼：好，这个是……我想这可能是专辑里最重型的一首，尤其是当歌曲进入……
T: It’s a pretty... sing-along sort of song.
约翰：是的。托尼：（可以说是）乞求的那一部分吗？约翰：非常重型。
J: It’s a ring-along~ sing-along, y’know. Haha!
我们在这首歌的后面用了Moog电子合成器。
T: Yeah. It’s very good vocs(?). Octopus’s Garden.
托尼：哦，那些声音都是合成器效果吗？
T: I Want You (She’s so Heavy). J: Correct.
约翰：这首歌是这样安排的：
T: Right. It’s... I suppose it is the heaviest track on the LP if we’re gonna get into that uh...
从最低频声进展到你听不到的最高频声。
J: Yeah. T: Begism(?), is it? J: It’s pretty heavy.
那个Moog合成器能够制造任何声音，
The end, y’know, cause we used moog synthesizer on it.
所有频率的声音。所以我们就在末尾处运用了。
T: Oh that’s what all that electronic ...?
如果你是只狗的话你可能就会听到（人耳听不到的高频音）。
J: Yeah. The range of this song is from, y’know,
托尼：所以如果是狗的话就能听到完整的曲子。
minus whatever to way over what you cannot hear, y’know.
约翰，
That machine, the Moog synthesizer can do all sounds, y’know,
说说Moog合成器的运用？
all ranges of sounds. So we did that on the end.
我知道有一些
So if you were a doggy, you could hear a lot more.
专门操作合成器的专家。（约翰：我有机器人。）
T: So any dog’s listening will get this together.
约翰：乔治（制作人乔治马丁）会一点。
John, what do you speak about
我是说，
playing the Moog synthesizer?
要学会它所有变奏的话这会花上你一辈子的时间，不过乔治有一台。
I understand that there are ?? states
一些在英国有合成器的人
who can get these together. (J: I got robot.)
就会用来实验，
J: Yeah. George can work it a bit.
乔治在Billy Preston的专辑
I mean it’ll take all your life to
还有“Because”的独奏里运用上了，
learn all the variations on it. But uh...George’s got one.
不过我觉得“Maxwell”里可能也有，
And a few people in England have got them,
也可能是整个专辑都有。
and they just sort of experiment it with them.
托尼：这是如何面对它，
He used it on Billy Preston’s LP.
而非一时兴起的问题吗？
And he also played it in the solo in Because,
约翰：对，没错。你可以用它演奏任何风格，
and I think in Maxwell they come in, too.
包括古怪的，或者只是实验，
It’s here and there on the album y’know.
它可以是小号或者是你想要的声音。
T: So it’s matter of sort of facing it(?)
托尼：它可以用来演奏特定的模式吗？
instead of just doing it at the time?
约翰：可以，我觉得它可以自行运转。
J: Yes yes. You can make it play anything y’know,
你可以试试放“Arte Crisno”，
any style, any freaky... or just playing, y’know,
并且一直在那儿放，
it sounds like trumpets or things if you want it to.
看看会发生什么。
T: Can it in fact be sort of set to play a particular pattern or ...
托尼：Moog合成器的音乐
J: Yeah, I think it can just go off on its own, y’know.
会有这样骇人的前景。
I mean you could get it to play Arte Crisno(?)
约翰：这对于塑胶小野乐队太合适了，
on its own forever y’know.
用那个合成器
See what happens to it.
自行演奏一切东西。
T: Yeah. There’s a frightening prospects
托尼：从技术上来讲，
of a Moog synthesizer concert that’s output(?).
这些音乐无论如何都是完美的，不是吗？
J: That’ll be a great Plastic Ono Band y’know,
约翰：是的，只是需要有人去启动。
with Moog synthesizer, just went on
托尼：然后离开，在门口收票。（约翰：是的）
sang and play everything on its own.
好的，这首单曲叫“I Want You(She’s so Heavy)”。
T: Because I suppose technically the notes
托尼：让我们把唱片翻过来，
will be perfect anyhow, wouldn’t it?
这是第二首乔治哈里森的歌
J: Yeah. It just needs one guy to switch it on, y’know.
“Here Comes the Sun”，
T: And then leave. Collect the tickets at the door. (J:Yeah.)
另一首非常附有旋律感、朗朗上口的歌曲。
OK, this is the track called I Want You(She’s so Heavy).
约翰：是的，
T: This part we sort of get to turn the record over.
它让我想起了“Buddy Holly”。
And the second George Harrison’s track
托尼：我懂你的意思。
is Here Comes the Sun, which is again
这确实是一首有着很强烈的旋律。
another very catchy and melodic song.
是否有些……呃，
J: Yeah. It reminds me of sort of
我知道一个人写歌是没有理由的，
Buddy Holly in the way, y’know.
但我认为这对乔治来说是个巨大的变化。
T: Yes, I saw what you mean. It’s certainly
约翰：我不清楚。
that very strong melody line again.
这只是他进步的方式。
Is there any uh..
他正在写各种歌，
I know there’s just no reason when one person writes song,
他想打开某种门，
but I think it’s such a dramatic change for George.
这次打开了水闸门，你完全不能（停下来）……
J: I don’t know, y’know.
专写一种类型的歌
I mean it’s just the way that he’s progressing.
是件很费劲的事。
He’s writing all kinds of songs.
比如说我，我就算偏爱写没有旋律感的硬摇滚，
He wants the door open.
（但是）也会禁不住写别的东西。
It’s the floodgates open. You can’t sort of...
我觉得我们四个人都是这样，
It’s an effort to concerntrate on
写歌都是水到渠成的。
writing certain kinds of songs, y’know.
托尼：约翰，当你集成专辑的时候，
Like I preferred writing just non-melodic straight rock,
你是从大量录制的音轨里挑选的吗？
(but) I can’t help writing other things.
或者实质上是……
I think that thing supplies to all of us.
约翰：没有，不是从大量的音轨里挑选出来的，
The songs just come out, y’know.
而是从一大堆歌里挑选出来的。我们每个人都是，
T: John, when you got this LP together,
你知道的，只能选出大概十首歌来组成一个专辑，
did you select from a large number of tracks
不可能再多了。
or did you virtually have a, y’know, ...
所以轮到你录制的时候，
J: No, not from a large number of tracks,
人们会选择你最想放进去的那几首。
from a large number of songs. Each of us has got, y’know,
托尼：我认为里面也涉及到了一张专辑里的音乐平衡感，
maybe about ten songs that contribute to an album.
不是吗？
You can’t get more on.
约翰：是的，就是这样。
So when it’s your turn to record as it were,
托尼：好的，乔治哈里森的歌，
people picked the ones you want on most really.
叫做“Here Comes the Sun”。
T: So then I suppose it gets to a point of
托尼：约翰，下一个单曲是你的另外一首，
a musical balance of the LP, too, hasn’t it?
叫“Because”，我似乎在这首中
J: Yes. It gets into that.
听到了一些古典乐的倒放。这是故意设计的吗？还是……
T: Right. George Harrison’s song.
约翰：对，
It’s called Here Comes the Sun.
是洋子演奏的古典钢琴曲。
T: The next track is another song of yours, John.
有天她正在弹钢琴，
It’s called Because. And I seem to
我不记得她弹的是什么了，
take some classic overturn in this. Is it by design or...?
贝多芬或者是谁的，
J: Yeah, sort of, y’know.
我说给我倒过来演奏的和弦，
Yoko plays classical piano.
然后我就以此为基础写了“Because”。
She was playing one day
洋子：是月光奏鸣曲。
and I don’t know what it was,
约翰：月光奏鸣曲，倒过来就是那样。
Beethoven or something.
托尼：这首歌的和声结构
I said give me that chords backwards.
和你们之前录音时的一些和声
And I wrote Because on it, on top of it.
略有些不同。
Yoko: Moonlight Sonata.
约翰：我不清楚，
J: Moonlight Sonata, backwards, something like that.
我只是问了乔治马丁或者我边上的人，
T: It also had the harmony structure...
说哪些音可以替代里面
is also slightly different from some of the harmonies
我仅知的某个音的三度或五度音，
you used in recording before.
然后那人就用钢琴弹了出来。
J: I wouldn’t know, y’know.
之后（我就说）好，我们就用那个。
I just ask George Martin or whoever’s around
我没法告诉你是什么，
and said what’s the alternatives to
我只是知道那些是和声。
thirds and fifths of the only one’s I know.
托尼：这也是首非常长的歌，不是吗？
And he plays them on the piano.
约翰：不长，这真令人惊讶。
And ( I said) Oh we’ll have that one, y’know.
它其实是专辑里最短的歌，只有两分钟左右。
I couldn’t tell you what they are.
托尼：噢，是因为它结束后接着的就是……
I just know it harmonies.
约翰：它结束后就进入了很长的组曲部分。
T: It is also a very long song, isn’t it?
托尼：好的，现在让我们进入这首歌，
J: It isn’t. It’s amazing. It’s the shortest one on it,
并且即将会讨论一下组曲。
only about 2 minutes something.
以上是“Because”。
T: Oh, or is it because it sort of gets off into the...
托尼：下一个是组曲，
J: It gets off. And then it gets to the long... the medley.
这确实是一段音乐的串联，
T: Ah, right. Now, uhh, let’s get into it right now.
我的意思是，重复的片段在其中贯穿着。
We will talk about the medley in a moment.
约翰：这也是个
The song called Because.
抛弃写了多年的歌曲的好方法。

托尼：所以这是共同创作的
T: The medley comes next on the LP.
一些音乐片段串联起来，而不是一些……
This is really a whole piece of music joint...
约翰：是，事实上
I mean repeated phrases come back on the way through it.
乔治和林果也像我们一样写了一点歌，
J: It’s also a good way of getting rid of
我只是时不时插入一些段落。
bits of songs written out of years, y’know.
保罗说我们还有十二小节，
T: So this is going a collective piece
让我们填上。我们就当场填上了。
of songs running, there wasn’t any...
托尼：也有几首歌被联系在了一起，
J: Yeah. I mean George and Ringo in fact
其中就有一些（共同的）角色。
wrote a bit of it as we did it, y’know,
约翰：是的，我只是……
literally I was in between bits and breaks into it.
我写的有“Polythene Pam”，
Paul would say we’ve got 12 bars in(?),
“Sun King”还有“Mean Mr. Mustard”。
let’s fill it in. And we’d fill it in on the spot.
我们只是把它们混在一起，试图让它们变得看起来像是在传达什么。
T: There’s also a couple of songs also link together,
在“Polythene Pam”里……是在“Mean Mr. Mustard”的歌词里面，
where there are some of characters...
“his sister Pam”本来是
J: Oh yeah, I was just look ...
“his sister Shelly”，
My contribution to it was Polythene Pam,
我改成了“Pam”,是为了
Sun King and Mean Mister Mustard.
让这首歌听起来好像（和“Polythene Pam”）有关系。
So we just juggle it about and try to make vague sense.
托尼：好的，我们即将进入组曲的第一个部分，
In Polythene Pam... in Mean Mister Mustard
在此之前我们要说着是保罗的另一首歌，
I said “his sister Pam” and orignally I said
以及这个钢琴……第一部分，
“his sister Shelly” in the lyrics.
是保罗在弹钢琴吗？约翰：是的他总是在弹钢琴，
I changed it to “Pam” to make it sounds
且无法自拔。
like it has something to do with it.
托尼：哈哈哈，好的。“You Never Give me your Money”。
T: OK. We’ll get into the first part of the medley, which is...
约翰：没错！
As we get to it, it’s another thing with Paul,
and this piano... The first part.
Was Paul on piano?J: Oh, he was always on piano.
He can’t get him off.
T: Hhh. OK, You Never Give me your Money.
J: Right!