Name: 披頭四為何能創作出這麼多名曲？｜Rick Beato 和 Lex Fridman 深度對談 (How The Beatles had so many | Rick Beato and Lex Fridman)
Uploaded: 2026-03-09T21:40:50.000Z
Duration: 4 min 4 s

How were the Beatles able to create some of the greatest songs of all time, all before they turned 30 years old?

披頭四在三十歲之前，是怎麼創作出史上最偉大的歌曲的呢？

I have never been able to figure that out.

程度副詞

But I have a theory that because I have a theory because PA systems were so bad back then and the Beatles people scream so loudly that the Beatles thought, okay, we don't, we don't need, we can't tour anymore because we can't even hear ourselves.

但我有一個理論，因為那時候的 PA systems 真的很爛，而且歌迷們的尖叫聲太大聲了，所以披頭四就想，好吧，我們不需要，我們不能再巡演了，因為我們根本聽不到自己的聲音。

所以我們要變成一個 studio band。

And maybe because of, we have all these great late Beatles records are from 1966 on.

也許是因為這樣，我們才會有這麼多很棒的 late Beatles records，都是從 1966 年之後的。

Just because they had bad PA systems and they had no monitors.

只是因為他們的 PA systems 很爛，而且沒有 monitors。

You know, they're in Shea Stadium, people are screaming so loudly they can't hear themselves.

你知道，他們在 Shea Stadium，大家尖叫聲大到聽不到自己。

They're like, okay, forget this, we can't tour.

他們就想，好吧，算了，我們不能巡演了。

And in that one year, like for, from August 6th, 1965, they put out Help.

然後在那一年，從1965年8月6日開始，他們出了《Help》。

Then in December 3rd, they put out Rubber Soul of 65.

接著在12月3日，他們出了65年的《Rubber Soul》。

Then, then August 5th, they put out Revolver.

然後，接著8月5日，他們出了《Revolver》。

So within 365 days they put out 3:14, I think 14 song records.

所以365天內，他們出了3張，我想是14首 song records。

So they wrote and recorded three incredibly important records.

所以他們寫了並錄製了三張非常重要的 records。

They were in the studio, it's like working out, they're practicing their craft every day, writing songs, trying to outdo the other ones.

他們在 studio，就像在健身一樣，他們每天都在練習他們的技藝，寫歌，試圖超越彼此。

And so you had the perfect thing of four supremely talented musicians, songwriters, singers, and

所以你有四位極具才華的 musicians、songwriters、singers，以及

then the best producer you could possibly have, George Martin.

還有你可能擁有的最棒的 producer，George Martin。

I think that when I would talk to friends that would just play in local clubs and they'd play four hour sets five nights a week and they never lost their voices because they're always working those muscles.

我想我會跟那些只是在 local clubs 玩，一週五天，每天玩四小時 sets 的朋友哈拉，他們從來沒有失去過聲音，因為他們一直在鍛鍊那些 muscles。

They were always in the studio singing every single day, doing takes.

他們每天都在 studio 唱歌，做 takes。

And, and I think that that was part of it at least.

嗯，嗯，我想那至少是其中一部分。

But you also have this theory that you know that the greatest productivity that musicians have is before they turn 30.

但你也有這個理論，你知道嗎，musicians 生產力最強的時候是在他們滿 30 歲之前。

The greatest sort of creative genius that can come out of the human mind musically is before the age of 30.

來自 human mind 的 greatest creative genius，在音樂方面，是在 30 歲之前。

Well, I think it's the same in mathematics as well.

You have this fluid intelligence versus crystallized intelligence.

你有 fluid intelligence 和 crystallized intelligence 的差別。

Fluid intelligence up until you're about, you know, in your late twenties, thirty years old, and then crystallized.

fluid intelligence 大約在你二十幾歲、三十歲之前，然後是 crystallized。

So you're using the crystallizes, you're using your life experience to, to write things.

所以你用 crystallized，你用你的人生經驗來寫東西。

So you'll find that, that composers, Bach, Beethoven, Mozart wrote their most important works at the end of their lives.

所以你會發現，composers，像是 Bach、Beethoven、Mozart，他們都是在晚年寫出最重要的作品。

Beethoven, the Late string quar, the ninth Symphony, things like that.

像是 Beethoven 的晚期 string quar，第九 Symphony，這類的作品。

So they have a whole lifetime of experience that lead up to this.

所以他們累積了整個人生經驗才寫出這些。

They're not improvising, but things for improvising, writing pop songs and that.

他們不是即興創作，但有些是為了即興創作，寫流行歌那類的。

I think when your mind is really most active and your brain processing speed is at its pinnacle, that this is my theory that people can come up with those kind of ideas.

我認為當你的腦袋最活躍、處理速度達到顛峰時，這是我個人的理論，人們才能創作出那樣的點子。

I think that most jazz improvisers, not all, but

我認為大部分的爵士即興演奏者，不是全部，但

most do their best improvising before age 30, creating something new.

大部分在三十歲前就能即興出最好的作品，創作出新的東西。

Yes, truly novel that that requires youth.

是的，真正嶄新、需要年輕才能做到的。

It's just a theory, though, but it seems to appreciate Sam.

這只是個理論，不過聽起來很合理。