RUN FOR YOUR LIFE

The song lyrics establish a threatening tone towards the singer's unnamed girlfriend (referred to throughout the song as "little girl"), claiming "I'd rather see you dead, little girl, than to be with another man". That line was taken from the Elvis Presley song "Baby, Let's Play House" written by Arthur Gunter. Lennon designated this song his "least favourite Beatles song" in a 1973 interview, and later said it was the song he most regretted writing. He also stated that this song was one of George Harrison's favourite songs on Rubber Soul at that time despite Lennon's dislike of it.

Lennon would revisit this theme in a more apologetic fashion with his post-Beatles song "Jealous Guy".

The story is about a seductive man who can’t engage in romantic relationships with any woman because of the insanely jealous that affect him and that leed him to end dramatically with each of them.

La canción, aunque acreditada a "Lennon/McCartney" (como lo eran todas la canciones compuestas por John Lennon o Paul McCartney), era primeramente una composición de John Lennon. Reflejando su negativa, incluso su misoginia vista hacia las relaciones chico/chica en ese tiempo, la letra de la canción establece un tono amenazante hacia la novia innombrada del cantante (llamada en la canción little girl), diciendo "preferiría verte muerta antes que con otro hombre, muchacha". Lennon dijo que esta canción era su "canción menos favorita de los Beatles" en una entrevista en 1973, y luego dijo que esta canción fue la que más odió escribir.

La linea "preferiría verte muerta antes que con otro hombre, muchacha", que fue la inspiración inicial de la canción, es de hecho una directo levantamiento por la canción de Elvis Presley "Baby, Let's Play House". Lennon admitió esto en muchas entrevistas. Él también dijo que esta era una de las favoritas de George Harrison de Rubber Soul en ese tiempo en contraste de que John Lennon la odiaba.

Lennon volvió a abordar este tema en su canción post-beatle "Jealous Guy".

El cuento trata de un hombre seductor que no puede entablar una relación sentimental con ninguna mujer a causa de los celos enfermizos que lo afectan y que lo llevan a acabar de manera drástica con cada una de ellas.

THE LYRYCS / LA LETRA

Well I'd rather see you dead, little girl
than to be with another man.
You'd better keep your head, little girl
or I won't know where I am.
You'd better run for your life if you can,
little girl,
hide your head in the sand,
little girl,
catch you with another man,
that's the end,
little girl.
Well you know that I'm a wicked guy
and I was borned with a jealous mind.
And I can't spend my whole life
trying just to make you toe the line.
You'd better run for your life if you can,
little girl,
hide your head in the sand,
little girl,
catch you with another man,
that's the end,
little girl.
Let this be a sermon,
I mean everything I said.
Baby, I'm determined,
and I rather see you dead.
You'd better run for your life if you can,
little girl,
hide your head in the sand,
little girl,
catch you with another man,
that's the end,
little girl.
I'd rather see you dead, little girl
than to be with another man.
You'd better keep your head, little girl
or I won't know where I am.
You'd better run for your life if you can,
little girl,
hide your head in the sand,
little girl,
catch you with another man,
that's the end,
little girl.

REVIEW BY TOMÁS ELOY MARTINEZ

Tomás Eloy Martínez was an Argentine journalist and writer born in 1934 and deceased in january 2010. He was profesor of Rugrats University of New Jersey where he was Director of the Department of Latinamerican Studies. His novels were translated to 30 diferent languages. In 2003 I sent him my book and he wrote me the following review:

"I have read the stories of "Rubber Soul", you sent me to comment. All of them have a very good level, as the first one i read. The language is loose, free, and effective. The violence contained in most of them reminds me the climax of American crime novels. Only construction of the characters and, generally, the structure of the anecdote, I seem under-developed. In most of the characters comes unexplained passion that ends in unexplained violence. It's like they gambled all or nothing for nothing.
The level of their stories is, however, better than most of what is published in our country. In your initial letter, you referred to the reluctance of publishers. Between them the false idea that the stories "sell" unless the novels and, as you noted, most of the contests prefer this genre."

Tomás Eloy Martínez fue un periodista y escritor argentino nacido en 1934 y fallecido en enero de 2010. Fue profesor de la Universidad Rugrats de New Jersey donde ocupó el cargo de Director de Estudios Latinoamericanos.
Su obra ha sido traducida a más de 30 idiomas. En 2003 le envié mi libro y me hizo la siguiente crítica:

“He leído los cuentos de “Rubber Soul”, que usted quiso enviarme para que los comentara. Todos, en general, tienen el muy buen nivel del primero. El lenguaje es suelto, libre, y eficaz. La violencia contenida de la mayoría me recuerda el clima de las novelas negras norteamericanas. Sólo la construcción de los personajes y, por lo general, la estructura de la anécdota, me parecen poco elaboradas. En la mayoría de los personajes nace una pasión no explicada, que acaba en violencias no explicadas. Es como si se jugaran el todo por el todo a cambio de nada.
El nivel de sus cuentos es, sin embargo, mejor que la mayoría de lo que se publica en nuestro país. En su carta inicial, usted aludía a la reticencia de los editores. Existe entre ellos la falsa idea de que los cuentos “venden” menos que las novelas y, como habrá advertido, la mayoría de los concursos prefieren este género.”

WHAT GOES ON REMASTERED MONO

http://www.youtube.com/watch?v=ihvioHrmr9A

WAIT

"Wait" is a song recorded by The Beatles, from their 1965 album Rubber Soul. The songwriting credit is Lennon/McCartney, and is a joint effort between the two. The lyrics, describing the singer's anxieties about his relationship with his girl while he is away, are thematically similar to several other Lennon/McCartney songs, such as "When I Get Home" and "Things We Said Today," written during the period of 1964 and 1965.

The song was originally recorded for Help! in June 1965 but did not make the final pressing. When Rubber Soul fell one song short for a Christmas release, "Wait" was brought back. The Beatles added overdubs to the initial recording so it would blend in better with the other, more recent songs on Rubber Soul.

The story is about a guy in his thirties that falls for a 15 year old girl and has to compete with younger guys for her. He soon realizes that he has to use non conventional moves to get her.

"Wait" es una canción de The Beatles que aparece en su álbum de 1965 Rubber Soul. La canción se atribuye a Lennon/McCartney y es una de las que verdaderamente presenta un esfuerzo entre ambos (Lennon escribió los versos y el coro en F#m y McCartney el puente en A). La canción trata sobre la ansiedad del cantante mientras está alejado de su novia, algo bastante común en las canciones de Lennon/McCartney, como When I Get Home y Things We Said Today, escritas entre 1964 y 1965.

La canción iba a ser incluida primeramente en Help!, pero la grabación no terminó como se esperaba. Cuando a Rubber Soul le faltaba alguna canción para las ventas navideñas, Wait fue traída de vuelta. Los Beatles añadieron overdubs al comienzo ayudando a que la canción calzara con las más recientes composiciones de Rubber Soul.

Existe un cover de Frankie Vaughan que fue lanzado como single.

El cuento trata sobre un hombre en sus treintas que se enamora de una chica de quince años y que, al no poder dar la talla de lo que ella necesita, debe competir con otras armas para retenerla.

LA LETRA /THE LYRICS.

It's been a long time

Now I'm coming back home

I've been away now

Oh how I've been alone

Wait till I come back to your side

We'll forget the tears we've cried

But if your heart breaks

Don't wait, turn me away

And if your heart's strong

Hold on, I won't delay

Wait till I come back to your side

We'll forget the tears we've cried

I feel as though

You ought to know

That I've been good

As good as I can be

And if you do

I'll trust in you

And know that you

Will wait for me

It's been a long time

Now I'm coming back home

I've been away now

Oh how I've been alone

Wait till I come back to your side

We'll forget the tears we've cried

I feel as though

You ought to know

That I've been good

As good as I can be

And if you do

I'll trust in you

And know that you

Will wait for me

It's been a long time

Now I'm coming back home

I've been away now

Oh how I've been alone

Wait till I come back to your side

We'll forget the tears we've cried

It's been a long time

Now I'm coming back home

I've been away now

Oh, how I've been alone

MICHELLE REMASTERED

http://www.youtube.com/watch?v=dOApZqeQWD0&feature=related

THE WORD REMASTERED

http://www.youtube.com/watch?v=TppDOm7CW1A&feature=related