~ The Beatles - Revolution 9
Views: 21891 |  |  |  |  | The Beatles - Revolution 9
High Quality: http://www.youtube.com/watch?v=M1G9wLGit4k&&fmt=18
Copyight - 1968 EMI Records Ltd.
REVOLUTION 9: MINUTE BY MINUTE: http://users.tinyonline.co.uk/ian.simpson/ian.simpson/rev%209%20minutes.htm
"Revolution ...More 9" or sometimes "Revolution #9" is a song (technically an audio collage) which appeared on The Beatles' 1968 self-titled LP release (also known as the White Album).
The recording began as an extended ending to the album version of "Revolution", to which were added vocal and music sound clips, tape loops, and sound effects influenced by the musique concrète styles of Karlheinz Stockhausen, Edgard Varèse, Luigi Nono, and John Cage, further manipulated with editing and sound modification techniques (stereo panning and fading). At over eight minutes, it is the longest track on the album, as well as the longest Beatles track ever officially released.
The work is credited to Lennon/McCartney (as were most Beatles songs written by either composer), though it was primarily the effort of John Lennon. George Harrison, Ringo Starr, and Yoko Ono made small contributions, while Paul McCartney did not actively participate in the track's creation. Ono's avant-garde influence on Lennon's songwriting and composition is clear throughout "Revolution 9."
Believing the track to be too uncommercial for even the Beatles to get away with, McCartney and producer George Martin fought hard to keep the track off the White Album, but Lennon and Ono won out, and the track was included as the second from last song at the end of the album's fourth side.
Structure and content
"Revolution 9" starts with a conversation between George Martin and Alistair Taylor:
Alistair Taylor: ...bottle of Claret for you if I'd realized. I'd forgotten all about it George, I'm sorry.
George Martin: Well, do next time.
Taylor: Will you forgive me?
Martin: Mmmm...yes....
Taylor: Cheeky #@!&.
(Although this conversation is usually known to be the beginning of "Revolution 9," the time tracking from the CD indicates it as the tail end of the previous track, "Cry Baby Cry," following Paul's short solo song "Can You Take Me Back.")
After a brief piano introduction, a loop of a male repeating the words "number nine" (taken from an EMI examination tape) begins to be heard. This phrase fades in and out throughout the recording as a motif. Then there is chaos: feedback, impromptu screaming, rehearsed overdubs, and more tape loops.
As some portions of "Revolution 9" are recordings of other music (from bits of Sibelius and Beethoven, to a backward snippet of a tuning orchestra, culled from the session tapes for A Day in the Life), the piece can be seen as an early example of sampling. Other audio elements include various bits of apparently nonsensical dialogue spoken by Lennon and Harrison, various found sounds, reversed sounds and recordings of American football chants. Also heard is the "all right" from the end of Revolution 1 (this piece was supposed to be the coda to Revolution 1 but was pushed back to several tracks after it). Also at 6:48 you can hear what seems to be the intro to Harrison's "While My Guitar Gently Weeps" played much faster on piano.
[edit] "Paul is Dead" significance
"Revolution 9" played an important part in the infamous "Paul is dead" controversy. Most notably, the repeated "number nine" played backwards can be heard as "Turn me on, dead man." If one listens carefully, the "babble", many believe, includes other hints left by the band about Paul's alleged death, including "My wings are broken," "Paul is Dead... Since the..his suicide was..." and "Get me out!" As the "Paul is dead" rumours were quickly debunked, these "clues" are creative misinterpretations of "Revolution 9", but they remain an interesting footnote to the Beatles' history. The mob sounds throughout are believed to be the people circling around Paul McCartney's "fatal car crash".
Related works
While "Revolution #9" is the Beatles' longest and easily strangest recording, it is not the only avant-garde song they recorded in their career. There is another, legendary recording known as "Carnival of Light", written by Paul McCartney and recorded by the Beatles during the Sgt. Pepper sessions on 5 January 1967. Like "Revolution 9", Carnival of Light is an avant garde piece, and clocks in at 13:48 minutes. The song has never been released, nor has it even been bootlegged. Very few people have ever heard the track. Paul McCartney has confirmed its existence, and the track was supposed to appear on Anthology 2 but George Harrison or George Martin vetoed it. |
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~ The Beatles at Abbey Road Studios
Views: 8154 |  |  |  |  | [NO SOUND]February 27th, 1964 - Random clips of the Beatles recording songs and fooling around in their Abbey Road Studio. Features George Martin.
Note: The original clip had no dialogue, it had a rough version of "And I Love Her" playing in the backgr ...More ound (at 1:16 you can see Paul singing the words "I know this love of mine..."), if you play that song while watching this, you pretty much get the same effect. |
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~ Tangerine salad for Jimmy Page Led Zeppelin
Views: 483 |  |  |  |  | A Tangerine is sometimes called a mandarin orange.
Tangerine Spinach Salad:
Lay baby spinach leaves on a plate.
layer with avocado and thin slices of red onion and tangerine pieces. Then top with almond slices and sprinkle with my asain dressing.
Ro ...More ckstar worthy dressing:
1//2 c. soy sauce
1/4 c. rice vinegar or the juice of one lemon.
1/3 cup tangerine juice
1/2 c. oil
2 Tablespoons sugar
2 cloves of garlic minced
1 teaspoon fresh minced ginger
1 teaspoon tangerine zest.
Store in container in fridge and can be used for many uses ie dipping sauce for potstickers. If you add 1/2 sugar it turns in a nice terriaki sauce for baked chicken or pork.
Triva: This was the second Led Zeppelin song to be named after a fruit, the first being "The Lemon Song".
Jimmy Page wrote this and first recorded it when he was with still with The Yardbirds.
This was the last Zeppelin song Jimmy Page wrote without any input from Robert Plant. The song is about a love affair.
Page played a steel guitar on this.
Led Zeppelin played this during acoustic sets on their early tours."Tangerine" - A Page composition left over from his days in the
Yardbirds, written for his girlfriend at the time, Jackie
DeShannon. Staying briefly in England in 1965, DeShannon formed a songwriting partnership with Jimmy Page, which resulted in the hit singles "Dream Boy" and "Don't Turn Your Back On Me". Page and DeShannon also wrote material for singer Marianne Faithfull, including her Top Ten UK and U.S. hit "Come and Stay With Me".
Paul McCartney and Wings' song "Rock Show" with the line: "What's that man movin' 'cross the stage? It looks a lot like the one used by Jimmy Page. It's like a relic from a different age. Could be...Oo-Ee..."
This was used at the end of the 2000 movie Almost Famous in a scene where a bus drives away.Page is mentioned in thPage has dated a number of famous groupies, such as Pamela Des Barres and Bebe Buell.. She is the mother, with Tyler, of actress Liv Tyler. Cameron Crowe has said he based his Penny Lane character in the 2000 movie ''Almost Famous'' on two women he met during the early 70's Bebe Buell and Pennie Trumble aka "Penny Lane". He speaks highly of both Buell and Trumble in the extended DVD of the movie and even said that he took some of Penny's direct dialogue from statements Buell had made in various interviews over the years. Kate Hudson was nominated for an Oscar for the role |
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~ "The Music of Lennon & McCartney" TV Special Part 1
Views: 845 |  |  |  |  | "The Music of Lennon & McCartney was a show about The Beatles' music. Starring John Lennon and Paul McCartney, they show us other artists that covered their songs, hear them in different languages, hear the lyrics straight into dialogue, and best of all, ...More hear them (along with George Harrison and Ringo Starr) sing their greatest songs!" |
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~ Cast of Beatlemania: I Am The Walrus (Long Island 2007)
Views: 2533 |  |  |  |  | 7/21/2007, New Hyde Park, Long Island.
http://www.moptops.com/home.html
The "Cast" recreates the sights and sounds of The BEATLES so faithfully that you will recall when the world was engulfed in the most pleasant fever of all: BEATLEMANIA!
The "Cast" ...More continue in their show as The BEATLES changed in their careers. Three different costumes coincide with the changing music and times. Theirs is the first, original and only complete representation of the musical force called The BEATLES.
The "Cast" features former members who starred in the Broadway production and have performed in all fifty states and over twenty foreign countries.
The "Cast" was individually selected from thousands of musicians who auditioned for the Broadway show, BEATLEMANIA.
"I Am the Walrus" is a 1967 song by The Beatles, written by John Lennon and credited to Lennon/McCartney. Lennon claimed he wrote the first two lines on separate acid trips. The song was in the Beatles' 1967 television film and album "Magical Mystery Tour," and was the B-side to the #1 hit "Hello, Goodbye."
Lennon composed the avant-garde song by combining three songs he had been working on. When he learned that a teacher at his old primary school was having his students analyze Beatles' lyrics, he added a verse of nonsense words. The walrus is a reference to the walrus in Lewis Carroll's "The Walrus and the Carpenter" (from the book Through the Looking-Glass). Lennon expressed dismay that the walrus was the villain in the poem.
The genesis of the lyrics is found in three song ideas that Lennon was working on, the first of which was inspired by hearing a police siren at his home in Weybridge; Lennon wrote the lines "Mis-ter cit-y police-man" to the rhythm of the siren. The second idea was a short rhyme about Lennon sitting in his garden, while the third was a nonsense lyric about sitting on a corn flake. Unable to finish the ideas as three different songs, he combined them into one.
Lennon received a letter from a pupil at Quarry Bank Grammar School, which he had attended. The writer mentioned that the English master was making his class analyze Beatles lyrics (Lennon wrote an answer, dated September 1, 1967, which was auctioned by Christie's of London in 1992). Lennon, amused that a teacher was putting so much effort into understanding Beatles lyrics, wrote the most confusing lyrics he could. Lennon's friend and former fellow member of The Quarrymen, Peter Shotton, was visiting, and Lennon asked Shotton about a playground nursery rhyme they sang as children.
Shotton remembered:
"Yellow matter custard, green slop pie,
All mixed together with a dead dog's eye,
Slap it on a butty, ten foot thick,
Then wash it all down with a cup of cold sick".
Lennon borrowed a couple of words, added the three unfinished ideas and the result was "I Am the Walrus". Beatles official biographer Hunter Davies was present while the song was being written and wrote an account in his 1968 book on the band. Lennon remarked to Shotton, "Let the fu**ers work that one out."
All the chords are major chords or seventh chords, and all the musical letters of the alphabet (A, B, C, D, E, F and G) are used. The song ends with a chord progression built on ascending and descending lines in the bass and strings, repeated over and over as the song fades. Musicologist Alan W. Pollack analyzes: "The chord progression of the outro itself is a harmonic Moebius strip with scales in bassline and top voice that move in contrary motion." The bassline descends stepwise A, G, F, E, D, C, and B, while the strings' part rises A, B, C, D, E, F#, G: this sequence repeats as the song fades, with the strings rising higher on each iteration. Pollack also notes that the repeated cell is seven bars long, which means that a different chord begins each four-bar phrase.
The unusual monologue in the mix towards the end of the song is a few lines of Shakespeare's "King Lear" (Act IV, Scene VI), which were added to the song direct from an AM radio receiving the broadcast of the play on the BBC Home Service. The bulk of the audible dialogue, heard in the fade, is the death scene of the character Oswald (including the words, "O untimely Death! Death!"); this is just one additional piece of the Paul is Dead urban legend.
George Martin arranged and added the orchestral accompaniment that included violins, cellos, horns, clarinet and a 16-piece choir. Paul McCartney said that Lennon gave instructions to Martin as to how he wished the orchestration to be scored, including singing most of the parts as a guide. A large group of professional studio vocalists named "The Mike Sammes Singers", took part in the recording as well, variously singing "Ho-ho-ho, hee-hee-hee, ha-ha-ha", "oompah,oompah, stick it up your jumper!", "got one, got one, everybody's got one" and making a series of shrill whooping noises.
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