[continued from previous message]   
      
   who gave us our first exposure… I met him when we were on tour and he   
   took me back to his apartment, and I had a girl and he had one he wanted   
   me to meet. He said she dressed up in polythene, which she did. She   
   didn’t wear jackboots, and kilts, I just sort of elaborated. Perverted   
   sex in a polythene bag– Just looking for something to write about.”   
      
   ‘She Came In Through the Bathroom Window’   
   JOHN: “He wrote that when we were in New York announcing Apple and we   
   first met Linda. Maybe she’s the one that came in the window.”   
      
   ‘Golden Slumbers’   
   JOHN: “That’s Paul, apparently from a poem he found in a book, some   
   eighteenth-century book where he just changed the words here and there.   
   Paul layered the strings on after we finished most of the basic track. I   
   personally can’t be bothered with strings and things, you know. I like   
   to do it with the group or with electronics. And especially going   
   through that hassle with musicians and all that bit, you know, it’s such   
   a drag trying to get them together. But Paul digs that, so that’s his   
   scene. It was up to him where he went with violins and what he did with   
   them. And I think he just wanted a straight kind of backing, you know.   
   Nothing freaky.”   
      
   ‘Carry That Weight’   
   JOHN: “That’s Paul. Apparently, he was under strain at that period. He’s   
   singing about all of us.”   
      
   ‘The End’   
   JOHN: “That’s Paul again, the unfinished song, right? We’re on Abbey   
   Road. Just a piece at the end. He had a line in it [sings] ‘And in the   
   end, the love you get is equal to the love you give [sic],’ which is a   
   very cosmic, philosophical line. Which again proves that if he wants to,   
   he can think.”   
      
   ‘Her Majesty’   
   JOHN: “We always have tons of bits and pieces lying around. I’ve got   
   stuff I wrote around Pepper, because you lose interest after you’ve had   
   it for years. It was a good way of getting rid of bits of songs. In   
   fact, George and Ringo wrote bits of it… literally in between bits and   
   breaks. Paul would say, ‘We’ve got twelve bars here– fill it in,’ and   
   we’d fill it in on the spot. As far as we’re concerned, this album is   
   more ‘Beatley’ than the double (White) album.”   
      
   --   
   geoff   
      
   --- SoupGate-DOS v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)