[84] Aerosmith's version charted at number 21 on the Album Rock Tracks chart in the US.[85]. It is usually the last but one song, performed after "Yesterday" and before the final medley including "The End". [76][77] Fortnam cites the band's choice as reflective of how the song's "macabre association with Charles Manson ... only served to accentuate its enduring appeal in certain quarters". "[12], Reflecting on "Helter Skelter" and its appropriation by the Manson Family in his 1997 authorised biography, Many Years from Now, McCartney said, "Unfortunately, it inspired people to do evil deeds" and that the song had acquired "all sorts of ominous overtones because Manson picked it up as an anthem". [72] The song appeared at number 52 in Rolling Stone's 2010 list of "The 100 Greatest Beatles Songs". [87][88] Their version peaked at number nine on Billboard's Hard Rock Digital Songs.[89]. And I just remember thinking, "Oh, it'd be great to do one. And I had this song called "Helter Skelter," which is just a ridiculous song. The song was recorded live at the McNichols Sports Arena in Denver, Colorado on 8 November 1987. The song featured in the set lists for his '04 Summer Tour, The 'US' Tour (2005), Summer Live '09 (2009), the Good Evening Europe Tour (2009), the Up and Coming Tour (2010–11) and the On the Run Tour (2011–12). [39] Geoffrey Cannon of The Guardian praised it as one of McCartney's "perfect, professional songs, packed with exact quotes and characterisation", and recommended the stereo version for the way it "transforms" the song "from a nifty fast number to one of my best 30 tracks of all time". As the only remaining whites, they would rule blacks, who, as the vision went, would be incapable of running the United States. (adsbygoogle = window.adsbygoogle || []).push({}); ©Copyright2020 元ネタ・由来を解説するサイト 「タネタン」.All Rights Reserved. [22] At around 3:40, the song completely fades out, then gradually fades back in, fades back out partially, and finally fades back in quickly with three cymbal crashes and shouting from Starr. [43], Charles Manson told his followers that several White Album songs, particularly "Helter Skelter",[44] were part of the Beatles' coded prophecy of an apocalyptic war in which racist and non-racist whites would be manoeuvred into virtually exterminating each other over the treatment of blacks. [59] According to author Doyle Greene, the Beatles' "Helter Skelter" effectively captured the "crises of 1968", which contrasted sharply with the previous year's Summer of Love ethos. [11] John Lennon acknowledged in a 1980 interview: "That's Paul completely. [21][nb 1] Chris Thomas produced the 9 September session in George Martin's absence. In the last tours, the song has been generally inserted on the third encore, which is the last time the band enters the stage. ※The WHOのギタリスト、ピート・タウンゼントが「新曲『恋のマジック・アイ』は、これまでのどの楽曲よりも激しく妥協のない曲だ」と雑誌で答えているのを読んでポールは刺激を受けた。, 『Helter Skelter』は「あわてふためいて」「混乱している様子」といった意味があり、ホワイトアルバムの日本語対訳では「シッチャカメッチャカ」と訳されている。イギリスでは遊園地の「ぐるぐるすべり台（螺旋形のすべり台）」を指す。 "[19], "Helter Skelter" was recorded several times during the sessions for the White Album. [53][54] In October 1970, Manson's defence team announced that they would call on Lennon for his testimony. He described "Helter Skelter" as "excellent", highlighting its "guitar lines behind the title words, the rhythm guitar track layering the whole song with that precisely used fuzztone, and Paul's gorgeous vocal". Nikki Sixx, the band's bassist, recalled that "Helter Skelter" appealed to them through its guitars and lyrics, but also because of the Manson murders and the song's standing as a "real symbol of darkness and evil". single. [74], Since the producers of the 1976 film Helter Skelter were denied permission to use the Beatles recording, the song was re-recorded for the soundtrack by the band Silverspoon. [7] Speaking of "Helter Skelter", he said: Umm, that came about just 'cause I'd read a review of a record which said, "and this group really got us wild, there's echo on everything, they're screaming their heads off." [68], Doyle Greene states that the Beatles and Manson are "permanently connected in pop-culture consciousness" as a result of Manson's interpretation of "Helter Skelter", "Piggies" and other tracks from the White Album. [48] Manson employed "Helter Skelter" as the term for this sequence of events. [42] In 2012, "Helter Skelter" appeared on the iTunes compilation album Tomorrow Never Knows, which the band's website described as a collection of "the Beatles' most influential rock songs". 『Helter Skelter（ヘルター・スケルター）』はThe Beatles（ビートルズ）が1968年に発表した楽曲。10枚目のアルバム『The Beatles（通称：ホワイトアルバム）』に収録（1968年11月22日リリース）。ポール・マッカートニーが音楽雑誌でThe WHO（ザ・フー）の記事を読んでインスパイアされ「最高にやかましくてダーティなロックンロール」を目指して作った曲。ホワイトアルバムの他の楽曲、またはビートルズの楽曲中で最高にヘヴィな曲。ポールがリード・ヴォーカルおよびリードギターを担当し、ジョン・レノンがベースを担当している。U2、Oasis、Stereophonics、Motley Crue、Aerosmithなどがカバー。 "[24], On 9 September, 18 takes lasting approximately five minutes each were recorded, with the last one featured on the original LP. "[18] In author Jonathan Gould's description, "The song turns the colloquialism for a fairground ride into a metaphor for the sort of frenzied, operatic sex that adolescent boys of all ages like to fantasize about. [15], The only chords used in the song are E7, G and A, with the first of these being played throughout the extended ending. [68][nb 6], In 1983, Mötley Crüe included the song on their album Shout at the Devil. We’re stealing it back. [82], In 1988, a U2 recording was used as the opening track on their album Rattle and Hum. It was written by Paul McCartney and credited to Lennon–McCartney. [93] On 13 July 2019, the final date of his Freshen Up tour,[94] McCartney performed "Helter Skelter" at Dodger Stadium in Los Angeles with Starr playing drums. [65], Ian MacDonald dismissed "Helter Skelter" as "ridiculous, [with] McCartney shrieking weedily against a massively tape-echoed backdrop of out-of-tune thrashing", and said that in their efforts to embrace heavy rock, the Beatles "comically overreached themselves, reproducing the requisite bulldozer design but on a Dinky Toy scale". [9] McCartney said that he was "using the symbol of a helter skelter as a ride from the top to the bottom; the rise and fall of the Roman Empire – and this was the fall, the demise. [64] In the case of McCartney's song, he said that the track was "one of the prime progenitors of heavy metal" and a major influence on 1970s punk rock. [69] "Helter Skelter" was voted the fourth worst song in one of the first polls to rank the Beatles' songs, conducted in 1971 by WPLJ and The Village Voice. Also in 2007, Beatallica recorded a parody called "Helvester of Skelter", which also was a parody of the Metallica song "Harvester of Sorrow". For other uses, see, Picture sleeve for the 1996 limited jukebox-only single re-release (reverse), Take 2, recorded the same day, originally 12 minutes and 54 seconds long, was edited down to 4:35 for, Harrison's antics were in reference to Brown's contemporary hit song ". [31][32] The segue from "Sexy Sadie" was a rare example of a gap (or "rill") being used to separate the album's tracks, and the brief silence served to heighten the song's abrupt arrival. [80] That same year, the Bobs released an a-cappella version on their album The Bobs. [62] Coinciding with the 50th anniversary of the album's release, Jacob Stolworthy of The Independent listed the same three songs as its best tracks, with "Helter Skelter" ranked at number 3. Sometimes you just had to shake out the jams. [30], "Helter Skelter" was sequenced as the penultimate track on side three of The Beatles, between "Sexy Sadie" and "Long, Long, Long". Stolworthy described it as "one of the best rock songs ever recorded" and concluded: "The fiercest, most blistering track that arguably paved the way for heavy metal is far removed from the tame love songs people were used to from [McCartney]. "[16] The lyrics initially follow the title's fairground theme, from the opening line "When I get to the bottom I go back to the top of the slide". [52] At the scene of the LaBianca murders in August 1969, the phrase (misspelt as "HEALTER SKELTER") was found written in the victims' blood on the refrigerator door. He said he then wrote "Helter Skelter" "to be the most raucous vocal, the loudest drums, et cetera". Some sources erroneously credit the "blisters" line to Lennon; This version was not initially available in the United States as mono albums had already been phased out there. 曲の最後に入っている叫び声はリンゴの声で、「I’ve got blisters on my fingers！（指にまめができちゃったよ）」といっている。, Led Zeppelinの『Whole Lotta Love (邦題: 胸いっぱいの愛を)』と『Helter Skelter』をマッシュアップした作品が海外で話題に。, アメリカのカルト集団・チャールズファミリーの指導者であり、女優のシャロン・テート殺害事件を起こしたチャールズ・マンソンは、白人と黒人による人種間の戦争＝「最終戦争（ハルマゲドン）」を「Helter Skelter」と呼んでいた。『Helter Skelter』はマンソンが画策した最終戦争を歌ったものと解釈し、『Helter Skelter』をハルバゲドンの予言であるとした。曲の歌詞がマンソン・ファミリーのことを歌っていると捉えたようだ。マンソンファミリーが殺人事件を起こしたことにより、ビートルズは『Helter Skelter』をライブなどで演奏することを中止した。, まもなく黒人のブラック・パンサーをはじめとする急進過激派が白人を相手に蜂起し、それがきっかけとなって核戦争が起きる。黒人が勝利するも、彼らには世界を統治するだけの能力がないことに気づく。そこでデス・ヴァレーの洞窟で生き残ったマンソンとそのファミリーが黒人に代わって統治することになる。, マンソンはファミリーに砂漠にファミリーのみで隠れ住むように説いており、『Helter Skelter』の歌詞は隠れ住むファミリーが這い上がる様を歌っていると捉えたと言われている。もちろんポールはそんなつもりで書いたわけでないし、マンソンとは何の関わりもない。, マンガ・アニメ・音楽・ネット用語・なんJ語・芸名などの元ネタ、由来、意味、語源を解説しています。. [6][35], In his contemporary review for International Times, Barry Miles described "Helter Skelter" as "probably the heaviest rocker on plastic today",[36] while the NME's Alan Smith found it "low on melody but high on atmosphere" and "frenetically sexual", adding that its pace was "so fast they all only just about keep up with themselves". [33] In Riley's description, the opening guitar figure "demolishes the silence ... from a high, piercing vantage point" while, at the end of "Helter Skelter", the meditative "Long, Long, Long" begins as "the smoke and ash are still settling". [27][nb 4] On 10 September, the band added overdubs which included a lead guitar part by Harrison, trumpet played by Mal Evans, piano, further drums, and "mouth sax" created by Lennon blowing through a saxophone mouthpiece. [86] Shock rock band Rob Zombie collaborated with Marilyn Manson on a cover of "Helter Skelter", which was released in 2018 to promote their co-headlining "Twins of Evil: The Second Coming Tour". Pity they've done it. "[17] The lyrics then become more suggestive and provocative, with the singer asking, "But do you, don't you, want me to love you? [57] Author Devin McKinney describes the White Album as "also a black album" in that it is "haunted by race". [37] Record Mirror's reviewer said the track contained "screaming pained vocals, ear splitting buzz guitar and general instrumental confusion, but [a] rather typical pattern", and concluded: "Ends sounding like five thousand large electric flies out for a good time. The song was McCartney's attempt to create a sound as loud and dirty as possible. Rolling Stone magazine ranked "Helter Skelter" 52nd on its list of "The 100 Greatest Beatles Songs". [75], At the 53rd Grammy Awards in 2011, the version of the song from McCartney's live album Good Evening New York City, recorded during the Summer Live '09 tour, won in the category of Best Solo Rock Vocal Performance. So we did it like that, 'cos I like noise. In the United States, the song was also issued on the single promoting the album, as the B-side to "Got to Get You into My Life". He says that whereas Lennon "submerges in scatalogical contradictions" in his song, "Helter Skelter" "ignites a scathing, almost violent disorder". "[1] In her 1979 collection of essays about the 1960s, titled The White Album, Joan Didion wrote that many people in Los Angeles cite the moment that news arrived of the Manson Family's killing spree in August 1969 as having marked the end of the decade.
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