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14
|
«Así de sencillo»
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McCartney
|
3:28
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Octubre 1986: THE ANTI-HEROIN PROJECT – It’s A Live-In World
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No.
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Tema
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Duración
|
|
13
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You Know It Makes Sense – Ringo Starr
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0:01:58
|
|
17
|
Simple As That – Paul McCartney
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0:04:14
|
|
18
|
Naughty Atom Bomb con Ringo Starr
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0:02:58
|
http://music2dealblog.com/2013/07/15/i-produced-many-weird-projects-interview-with-charles-foskett/
After months of working around the clock I had a group of two dozen top session players
and many top names on-board to design the best anti drugs record of all time;
EMI signed the deal and gave me full support along with my own production office, my own p.a. and pr person.
‘It’s a Live-In World’ was about to hit the planet in a big way!
I had free run of all studios in Abbey Road
– I was invited to work at the most famous home studio in the world ‘Tittenhurst Park’
which belonged at that time to Ringo Starr –
Ringo bought it from John and Yoko when they moved to New York
– Ringo asked me to work on a track at Tittenhurst with engineer Martin Adam
and he would play on my album along with his son Zak Starkey.
I had co-produced tracks with Paul and Linda McCartney,
wrote songs for Kim Wilde, Bonnie Tyler, Elkie Brooks, Fish from Marillion
and produced Elvis Costello and Loudon Wainright.
We eventually wrote a great song called ‘Slay the Dragon’ which I produced with Holly Johnston.
Artists just kept on coming my way and I somehow managed to stay on my feet
and remain compos mentis even though I was only getting around five hours sleep and less each night.
I was spending more and more time producing artists in every top studio in town
and had to eventually split from my two Off Beat Music partners in Hammersmith;
they still believed I should be composing music for television
and radio alongside all the top flight action I had scored through hard graft
and yelling at the top of my voice to anyone who would listen to what I had planned.
The double album and single ‘It’s a Live-In World’ was due for Christmas release 1986
and featured pretty much everybody that was a big name at that time.
I had artists flying in from America, taking days out from their tour schedules to get in on the action.
Organising it was an administrational nightmare but with the help of my p.a. and various EMI departments
(who would run in the opposite direction at the sight of me coming) we kept on top of it.
It always becomes a lot easier when you have a major label support behind you – every Tom,
Dick and Harry wants to jump on your ride to big up their own failing careers and why not –
I got a million quid’s worth of free publicity including prime time television –
BBC and ITV news, MTV and the whole shebang.
We, without doubt were going to have the biggest number one Christmas hit
that would equal Band Aid without problem.
I had been told by two Beatles (Ringo and Macca) that I had written one great big classic hit song,
this fed my ego somewhat and meant a lot –
I had also been offered a top job at the home office as David Mellor’s right hand man
on the government’s proposed 1987 anti drug campaign.
Mellor took me out for dinner and schmoozed me no end!
It was at this point I should have smelled a rat – and one gigantic rat at that!
I turned Mellor’s job offer down favouring popular music over politics
and one week later EMI received a telephone call
from the home office ordering them to ditch the release of ‘It’s a Live-In-World.
They were proposing to dump twenty months of my hard labours in the blink of an eye,
none of us could understand it; my endless pushing and pulling
of hundreds of great talented people and their managements
and agents and most of all my own love of achieving something
really worthwhile in a self gratifying industry.
Cliff Richard, Paul McCartney, Elvis Costello and myself complained like hell
at the front door of the Home Office, we rang Parliament –
The BBC were rendered totally helpless and were also banned
from giving ‘It’s a Live-in World’ any airplay what-so-ever.
They were forbidden from even covering our endeavours to campaign for the news – Nothing! Zilch!
…….For more info on my time at Tittenhurst Park and Abbey Road studios
…What notable projects have you completed and how did you get involved with Paul McCartney?
I was working an all nighter in Abbey Road studios –
I was up in the penthouse and at around 3.am the internal phone rang.
thought it was the young kid and tape op from down stairs again –
he had been supplying me with coffees every hour to keep me awake.
When I picked up a voice said ‘Hello is that Charley Foskett?’ to which I replied ‘Yes!
Piss off and let me get on with my work, I’m on a deadline here!’
‘I’ve had enough coffee to last me all week’ – I then hung up and continued working.
Two minutes later the phone rang again and a voice said
‘Hello Charley, it’s Paul here’ to which I replied ‘Paul who?’
and the voice said ‘Paul McCartney’ – and I yelled back ‘F**k Off’ and hung up the receiver again.
I thought about running down stairs and tying up
and gagging the young tape op and locking him in the basement for the rest of the night.
I had no sooner sat down and rewound the tape and the phone rang again –
by this time I was really pissed off and just took it off the receiver and left it hanging there.
I could hear a voice talking away as I got on with my work –
I picked it up again after running the tape for a couple of minutes and there he was still on the line.
‘Hello Charley, It’s Paul McCartney here’ to which I replied ‘Yes of course you are but your scouse accent is rubbish!’
I almost turned into Basil Fawlty before the penny dropped –
his accent was perfect Liverpudlian and it was Macca ringing me in the middle of the night.
‘You’ve really gone and done it haven’t you’
said ‘The one of great Hofner violin bass playing’.
‘Oh shit! Sorry! I thought you were the guy down stairs making the coffee’ I mumbled nervously.
We laughed and he invited me to discuss stuff the following week after Zak Starkey’s 21st birthday bash at Tittenhurst Park.
He had written a song for me called ‘Simple as that’.
La pregunta es muy sencilla ¿Prefieres estar vivo o muerto?
Es así de sencillo , Si te preguntan si te quieres unir a ellos
Demórate un minuto más o menos
Pues, ahora es el momento perfecto para empezar
¿Vas a decir “sí” o “no”?
|
I know it isn’t easy to refuse,
A lot of thoughts are flying through your head,
Tell me this before you have to choose,
Would you rather be alive or dead?
It’s as simple as that, (simple as that)
Would you rather be alive or dead?
It’s as simple as that, (simple as that)
It’s so simple,
it makes you wanna cry.
They ask you if you wanna join in,
You linger for a minute or so.
Well, now’s the perfect time to begin,
Are you gonna say “yes” or “no”?
It’s as simple as that, (simple as that)
Are you gonna say “yes” or “no”?
It’s as simple as that, (simple as that)
It’s so simple, it makes you wanna cry.
And if you love your life,
Ev’rybody will love you too.
Yes, if you love your life,
Ev’rybody will love you too.
It’s harder when you start getting ’round,
(it’s harder when you start getting ’round)
I want you to remember what I said,
(I want you to remember what I said)
I know you never like to let ‘em down,
But would you rather be alive or dead?
It’s as simple as that,
(it’s as simple as that)
Would you rather be alive or dead?
It’s as simple as that,
(simple as that)
It’s so simple,
it makes you wanna cry.
So simple,
makes you wanna cry.
Yes, if you love your life,
Ev’rybody will love you too.
And if you love your life,
Well, ev’rybody will love you too.
Do you rather be alive or dead?
(you rather be alive or dead?)
Rather be alive or dead?
(you rather be alive or dead?)
Would you?
It’s as simple as that,
(it’s as simple as that)
It’s as simple as that,
(it’s as simple as that)
It’s as simple as that,
(it’s as simple as that)
Simple as that,
Simple as that.
And if you love your life,
Ev’rybody will love you too.
Ow!
Yes, if you love your life,
Ev’rybody will love you too.
And if you love,
And if you love,
And if you love,
Ooh, do you rather be alive or dead?
(do you rather be alive or dead?)
Would you rather be alive or dead?
(would you rather be alive or dead?)
It’s as simple as that, (simple as that)
It’s as simple as that, (it’s as simple as that)
Oh, it’s as simple as that.
|
Sé que no es fácil rehusar
Muchos de los pensamientos que sobrevuelan tú cabeza
Dime algo, antes de tener que elegir
¿Prefieres estar vivo o muerto?
La cosa es así de sencilla (así de sencilla)
¿Prefieres estar vivo o estar muerto?
Es así de sencillo , (así de sencilla)
Es así de sencillo que …
Te hace querer llorar (o gritar)
Te preguntan si te quieres unir a ellos
Demórate un minuto más o menos
Pues, ahora es el momento perfecto para empezar
¿Vas a decir “sí” o “no”?
La cosa es así de sencilla (así de sencilla)
¿Vas a decir “sí”o vas a decir “no”?
La cosa es así de sencilla, (así de sencilla)
es tan sencillo que …Te hace querer llorar
Y si tú amas tú vida
Todos los demás te amarán también
Sí, y si amas tú vida
Todos los demás te amarán también
Es muy duro cuando empiezas a evitarlo
(Es muy duro cuando empieza a “dejarlo”)
Quiero que recuerdes lo que dije
(Quiero que recuerdes lo que dije)
Sé que nunca te gusta defraudarles
¿Pero prefieres estar vivo o muerto?
La cosa es así de sencilla
(así de sencilla)
¿Prefieres estar vivo o estar muerto?
La cosa es así de sencilla,
(así de sencilla)
es tan sencillo que …
Te hace querer llorar
Tan sencillo que …
Te hace querer llorar
Sí, si amas tú vida
Todos los demás te amarán también
y si tú amas tú vida
Pues, todos los demás te amarán también
¿Prefieres estar vivo o estar muerto?
(¿Prefieres estar vivo o estar muerto? )
¿Prefieres estar vivo o estar muerto?
(¿Prefieres estar vivo o estar muerto?)
¿Qué prefieres?
La cosa es así de sencilla
(it’s as simple as that)
La cosa es así de sencilla
(it’s as simple as that)
La cosa es así de sencilla
(it’s as simple as that)
Tan sencillo como eso
Tan sencillo como eso
Y si tú amas tú vida
Todos los demás te amarán también
Ow!
Sí, si tú amas tú vida
Todos los demás te amarán también
And if you love,
And if you love,
And if you love,
Ooh, do you rather be alive or dead?
(do you rather be alive or dead?)
Would you rather be alive or dead?
(would you rather be alive or dead?)
It’s as simple as that, (simple as that)
It’s as simple as that, (it’s as simple as that)
Oh, it’s as simple as that.
|
Put an end to that long cold existence you’ve lived by
Let a warm and loving hand touch your pain
The part of you that is hurting, making you cry
When all the world looks like the devil in a 3-D frame
Pull down defences …Open up your heart
Don’t build defences … ‘Cause they’ll only fall apart
‘Cause it’s a live-in world …A live-in world
7″ Single
Live-in World 4:07 [Charley Fosket]
Something Better 4:12 [Charley Fosket]
12″ Single
Live-in World
On the Street
Something Better
You Know it Makes Sense
2 LP
UK : EMI Records Ltd. – AHPLP 11
EUR: EMI Records Ltd. – 24.0669-3
|
[SIDE-A]
|
[SIDE-C]
|
|
1.
|
Smak / Lizzy Welch And The Anti-Smack Band
|
1.
|
Simple As That / Paul McCartney
|
|
2.
|
Cold Turkeying / Sarah Miles
|
2.
|
Naughty Atom Bomb / Ringo Starr…
|
|
3.
|
Hot Line / Chris Sutton
|
3.
|
Candles / Chris Rea
|
|
4.
|
The End Of The Rainbow / Elvis Costello
|
4.
|
Head Full Of Shadows / Boon ( Level 42 )
|
|
5.
|
Live-In World / Various
|
5.
|
Aqua / Eurythmics
|
|
6.
|
It’s Not Easy / Bonnie Tyler
|
6.
|
We Came Here To Rock / Saxon
|
|
7.
|
Don’t Use drugs / Jonno & Dennis
|
7.
|
Heroin / New Model Army
|
|
8.
|
The Needle And The Damage Done / The Icicle Works …
|
|
|
|
[SIDE-B]
|
[SIDE-D]
|
|
1.
|
Freak Street / Charley Foskett
|
1.
|
Slay The Dragon / Holly Johnson
|
|
2.
|
Scagg / Charley Foskett
|
2.
|
Little Bit Of Snow / Howard Jones
|
|
3.
|
Suspended Pool / Hayley Mills / Dave Evans
|
3.
|
Never Never / Feargal Sharkey
|
|
4.
|
Something Better / Precious Wilson / Kim Wilde…
|
4.
|
Hooked On Love / Bananarama
|
|
5.
|
You Know It Makes Sense / Ringo Starr
|
5.
|
The Man’s Too Strong / Dire Straits
|
|
6.
|
Waiting In The Dark / Precious Wilson
|
6.
|
Blue ( Armed With Love ) / Wham
|
|
7.
|
The World Spins So Slow / Dave Stewart & Barbara Gaskin
|
7.
|
Magical / Bucks Fizz
|
|
|
|
8.
|
She’s Gonna Love Ya To Death / John Parr
|
The Anti-Heroin project
HELP US, HELP THEM, HELP THEMSELVES
Producer: Charley Foskett
The Anti-Smack Band
Tony Beard – Drums
Tommy Eyre – Keyboards
Dave Stewart – Keyboards
Don Snow – Keyboards
Jeremy Alsop – Bass Guitar
Julian Littman – Backing Vocals
Gillian Mason – Backing Vocals
Bobby Tench – Backing Vocals
Lizzy Welch – Backing Vocals
Lauren Field – Backing Vocals
Vince Edwards – Backing Vocals
Mel Collins – Solo Sax
Pete Thoms – Trombone, Horns
Gary Barnacle – Tenor Sax, Horns
Luke Tunney – Trumpet, Horns
John Thirkle – Trumpet, Horns
Finchley Children’s Choir
The Crowd
HOLLY JOHNSON – ZTT
MARILLION (FISH) – EMI
NIK KERSHAW – MCA
CLIFF RICHARD – EMI
HAZEL O’CONNOR
HAZELL DEAN – EMI
PRECIOUS WILSON – JIVE
SINITTA – FANFARE
KIM WILDE – MCA
SHEILA FERGUSON
EDWIN STARR – HIPPODROME
DARYL PANDY
PHIL FEARON – ENSIGN/CHRYSALIS
ELKIE BROOKS – LEGEND
JOHN PARR – LONDON
MEL COLLINS (SAX SOLO)
ROBIN GIBB – POLYDOR
THE ALARM – IRS/MCA
(MIKE PETERS/EDDIE MACDONALD)
JIM DIAMOND – A&M
STEVE HARLEY -RAK
BOBBY TENCH
JULIAN LITTMAN
BONNIE TYLER – CBS
SUGGS (MADNESS) – ZARJAZZ
ASWAD – SIMBA
(BRINSLEY FORD/DRUMMIE ZEB)
BUCKS FIZZ – POLYDOR
(BOBBY GEE/MIKE NOLAN/SHELLY PRESTON)
CHAS AND DAVE – TOWER BELL
ROY HARPER – EMI
HELENA – ARISTA
NICK HEYWARD -ARISTA
THE ICICLE WORKS – BEGGAR’S BANQUET
(IAN MCNABB/CHRIS LAYHE/CHRIS SHARROCK)
JOHN MCCOY
HAYLEY MILLS
BILL ODDIE
PSYCHIC TV – TEMPLE
(GENESIS P.ORRIDGE/PAULA)
KATE ROBBINS – (Prima de McCartney)
CHRISTOPHER RYAN
ZAK STARKEY
DAVE STEWART AND BARBARA GASKIN
POLY STYRENE – AWESOME
THOMPSON TWINS – ARISTA
TOM WATT – WATT THE DUCK
BOBBY WHITLOCK
HEAVY PETTIN’ – POLYDOR
(GORDON BONNAR/HAMIE HAYMAN/DUTCH MICHEALS)
JIMMY PURSEY
GENERAL PUBLIC – VIRGIN
(DAVE WAKELING)
Due to the huge attendance of artists and celebrities, it is impossible to print all the names but our sincerest thanks to everyone.
Engineer at Abbey Road: Tony Clark
Assistant Engineer: Daren Goodwin
Project Co-ordinator: Roz Graham
THANKS TO: BASF and the following Studios:
Universal, Olympic, Powerplant, CTS, Abbey Road.
Thanks also to everyone else involved in this project.
The artful Dodgers Sleeve Designs.
Photo Christopher Bissell
Royalties from this record are being given to The Phoenix House Charity for recovery centres throughout the U.K.
(p) 1986 Original Sound Recordings Made by EMI Records Ltd.
(c) 1986 EMI Records Ltd.
La tregua se propagó hacia otras áreas, y hay muchas historias, como, de partidos de fútbol entre enemigos. 
El Capitán Stockwell cuenta en su diario que el 26 de Diciembre saltó de su trinchera 
THE BEATLES en solitario 