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markk
Old Love
USA
803 Posts |
 Posted - 02/03/2012 : 00:41:34
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OK, here goes right to the point. These guys are on another plane.
All the rest, no matter who or what genre, are looking up at them from a lower level, no exceptions. There are no bad Beatle songs, not a one, and don't give me that No. Nine stuff. All Beatle songs are better than 99% of any music out there.
I'm not going to rant as to why this is so.
Rather, I present 2 songs. They are not the best Beatle songs, just 2 good ones, but still better than 99% of the rest.
http://www.youtube.com/watch?v=ILdBDOPoEDQ
http://www.youtube.com/watch?v=jyDVxuYW2EU
Am I right or wrong? |
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lemonade kid
Old Love
USA
9876 Posts |
Posted - 02/03/2012 : 01:51:59
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quote:
Originally posted by markk
OK, here goes right to the point. These guys are on another plane.
All the rest, no matter who or what genre, are looking up at them from a lower level, no exceptions. There are no bad Beatle songs, not a one, and don't give me that No. Nine stuff. All Beatle songs are better than 99% of any music out there.
I'm not going to rant as to why this is so.
Rather, I present 2 songs. They are not the best Beatle songs, just 2 good ones, but still better than 99% of the rest.
http://www.youtube.com/watch?v=ILdBDOPoEDQ
http://www.youtube.com/watch?v=jyDVxuYW2EU
Am I right or wrong?
You are preaching to the choir, markk. Beatles rule.
But you may start a riot! Still.... a fun post though!
You only picked two of my favorite Beatles tunes. Can't think of a bad tune either.
This one gets panned by some but I love it...one of my faves....
The Inner Light
http://www.youtube.com/watch?v=7oSuzEqHOcE
I was actually playing my Past Masters (mono) Volume Two, earlier. Brilliant.
________________________________________________
We are raised to honor all the wrong explorers & discoverers-
-thieves planting flags, murderers carrying crosses.
Let us at last praise the colonizers of dreams.
-Peter S. Beagle 1973
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Edited by - lemonade kid on 02/03/2012 01:55:04 |
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lemonade kid
Old Love
USA
9876 Posts |
Posted - 02/03/2012 : 01:53:56
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That's a different perspective. Pick the "worst" Beatles tunes (in your opinion) and see how they hold up against any other band's best. Hmmmm...
I like it.
________________________________________________
We are raised to honor all the wrong explorers & discoverers-
-thieves planting flags, murderers carrying crosses.
Let us at last praise the colonizers of dreams.
-Peter S. Beagle 1973
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Edited by - lemonade kid on 02/03/2012 01:54:26 |
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bob f.
Old Love
USA
1308 Posts |
Posted - 02/03/2012 : 02:16:37
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BEATLES RULE! They are an anomaly ! The band had a certain, magical symbiotic power, which came just perfectly at the right time, like God-sent Angels.
...what the world needs now... |
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rocker
Old Love
USA
3606 Posts |
Posted - 02/03/2012 : 14:16:01
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| Last week I picked up a Searchers record "Meet the Searchers" in mono, most probably a US issue, right?..er seems to copy that "Meet the Beatles" issue. On the back the writer made a mention how they "knocked" the Beatles off the charts with their hit "Needles and Pinza"...got to admit all that comp did something between the bands and the Beatles were "it"...well they apparently could "take" it... |
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captain america and billy
Old Love
907 Posts |
Posted - 02/03/2012 : 15:32:03
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| As far as someone pointing out that "Revolution 9" may indeed be a bad Beatles track,it's all a matter of perspective.One may be a fan of the Avant Garde. |
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underture
Fifth Love
482 Posts |
Posted - 02/03/2012 : 16:02:36
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I don't think it is an overstatement to say that everytime the Beatles made a record, they made history. EVERY song of theirs has some significance to it. Even what would be my choice for their worst ever, "Mr. Moonlight", beats alot of other bands.
You Set The Scene |
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markk
Old Love
USA
803 Posts |
Posted - 02/03/2012 : 19:01:46
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I actually like "No. Nine" and I love John's opening scream of Mr. Moonlight.
Captain, a warm welcome back. |
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lemonade kid
Old Love
USA
9876 Posts |
Posted - 02/03/2012 : 19:02:59
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quote:
Originally posted by captain america and billy
As far as someone pointing out that "Revolution 9" may indeed be a bad Beatles track,it's all a matter of perspective.One may be a fan of the Avant Garde.
You're back, Capt'n! Great!
"Revolution 9" was a trip the first time I heard in 1968 and still is. Have you tried the MONO version...the mono mix of the White Album is quite different and revelatory.
"Revolution 9" was as usual, another rock first in many ways. As you put it-Avant Garde art rock...
"Revolution 9" is a recorded composition that appeared on The Beatles' 1968 self-titled LP release (popularly known as "The White Album"). The sound collage, credited to Lennon–McCartney, was created primarily by John Lennon with assistance from George Harrison and Yoko Ono. Lennon said he was trying to paint a picture of a revolution using sound. The composition was influenced by the avant-garde style of Ono as well as the musique concrète works of composers such as Edgard Varese and Karlheinz Stockhausen.
The recording began as an extended ending to the album version of "Revolution". Lennon then combined the unused coda with numerous overdubbed vocals, speech, sound effects, and short tape loops of speech and musical performances, some of which were reversed. These were further manipulated with echo, distortion, stereo panning, and fading. The loop of "number nine" featured in the recording fuelled rumours about Paul McCartney's death after it was reported that it sounded like "turn me on, dead man" when played backwards.
"Revolution 9" was not the first venture by The Beatles into experimental recordings. In January 1967, McCartney led the group in recording an unreleased piece called "Carnival of Light" during a session for "Penny Lane". McCartney said the work was inspired by composers Stockhausen and John Cage.[1] Stockhausen was also a favourite of Lennon, and was one of the people included on the Sgt. Pepper album cover. Music critic Ian McDonald wrote that "Revolution 9" may have been influenced by Stockhausen's Hymnen in particular.[2]
Another influence on Lennon was his relationship with Ono. Lennon and Ono had recently recorded their own avant-garde album, Unfinished Music No.1: Two Virgins. Lennon said: "Once I heard her stuff—not just the screeching and howling but her sort of word pieces and talking and breathing and all this strange stuff ... I got intrigued, so I wanted to do one."[3] Ono attended the recording sessions and helped Lennon select which tape loops to use.[4]
"Revolution 9" originated on 30 May 1968 during the first recording session for Lennon's composition "Revolution". Take 20 lasted more than ten minutes and was given additional overdubs over the next two sessions. Mark Lewisohn described the last six minutes as "pure chaos ... with discordant instrumental jamming, feedback, John repeatedly screaming 'alright' and then, simply, repeatedly screaming ... with Yoko talking and saying such off-the-wall phrases as 'you become naked', and with the overlaying of miscellaneous, home-made sound effects tapes."[5]
Lennon soon decided to make the first part of the recording into a conventional Beatles' song, "Revolution 1", while using the last six minutes as the basis for a separate track, "Revolution 9". He began preparing additional sound effects and tape loops: some newly recorded in the studio, at home and from the studio archives. The work culminated on 20 June, with Lennon performing a live mix from tape loops running on machines in all three studios at Abbey Road. Additional prose was overdubbed by Lennon and Harrison.[6]
More overdubs were added on 21 June followed by final mixing in stereo. The stereo master was completed on 25 June when it was shortened by 53 seconds.[7] Although other songs on the album were separately remixed for the mono version, the complexity of "Revolution 9" necessitated making the mono mix a direct reduction of the final stereo master. McCartney had been out of the country when "Revolution 9" was assembled and mixed; he was unimpressed when he first heard the finished track, and later tried to persuade Lennon to drop his insistence that it be included on the album.[9]
Structure and content
The piece begins with a slow piano theme in the key of B minor and a male voice repeating the words "number nine", quickly panning across the stereo channels. The unidentified voice was found on an examination tape in the studio archives.[10] Lennon recalled: "I just liked the way he said 'number nine' so I made a loop ... it was like a joke, bringing number nine in it all the time ..."[4] Both the piano theme and the "number nine" loop recur many times during the piece, serving as a motif.
Much of the track consists of tape loops that are faded in and out, several of which are sampled from performances of classical music. Works that have been specifically identified include the Vaughan Williams motet O Clap Your Hands, the final chord from Sibelius' Symphony No. 7, and the reversed finale of Schumann's Symphonic Studies.[11] Other loops include brief portions of Beethoven's Choral Fantasy, "The Streets of Cairo", violins from "A Day in the Life", and George Martin saying "Geoff, put the red light on". There are also loops of unidentified operatic performances, backwards mellotron, violins and sound effects, an oboe/horn duet, a reversed electric guitar in the key of E major, and a reversed string quartet in the key of E-flat major.[11]
Portions of the unused coda of "Revolution 1" can be heard briefly several times during the track, particularly Lennon's screams of "right" and "alright", with a longer portion near the end featuring Ono's discourse about becoming naked. Segments of random prose read by Lennon and Harrison are heard prominently throughout, along with numerous sound effects such as laughter, crowd noise, breaking glass, car horns, and gunfire. Some of the sounds were taken from an Elektra Records album of stock sound effects.[12] The piece ends with a recording of American football chants ("Hold that line! Block that kick!"). In all, the final mix includes at least 45 different sound sources.[13]
Album sequencing and release
During compilation and sequencing of the master tape for the album The Beatles, two unrelated segments were included between the previous song ("Cry Baby Cry") and "Revolution 9".[14] The first was a fragment of a song based on the line "Can you take me back", an improvisation sung by McCartney that was recorded between takes of "I Will". The second was a bit of conversation from the studio control room where Alistair Taylor asked George Martin for forgiveness for not bringing him a bottle of claret.[14]
"Revolution 9" was released on 22 November 1968 as the fifth track on the fourth side of the album The Beatles, four tracks after "Revolution 1". With no gaps in the sequence from "Cry Baby Cry" to "Revolution 9", the point of track division has varied among different re-issues of the album. Some versions place the conversation at the end of "Cry Baby Cry", resulting in a length of 8:13 for "Revolution 9", while others start "Revolution 9" with the conversation, for a track length of 8:22.
Reception
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... compare Lennon's work with Luigi Nono's similar Non Consumiamo Marx (1969) to see how much more aesthetically and politically acute Lennon was than most of the vaunted avant-garde composers of the time ... Nono's piece entirely lacks the pop-bred sense of texture and proportion manifested in "Revolution 9".
— Ian MacDonald, Revolution in the Head[15]
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"Revolution 9" is an embarrassment that stands like a black hole at the end of the White Album, sucking up whatever energy and interest remain after the preceding ninety minutes of music. It is a track that neither invites nor rewards close attention ...
— Jonathan Gould, Can't Buy Me Love[16]
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The unusual nature of "Revolution 9" engendered a wide range of opinions. Lewisohn summarised the public reaction upon its release: "... most listeners loathing it outright, the dedicated fans trying to understand it."[17] Music critics Robert Christgau and John Piccarella called it "an anti-masterpiece" and noted that, in effect, "for eight minutes of an album officially titled The Beatles, there were no Beatles."[18] Jann Wenner was more complimentary, writing that "Revolution 9" was "beautifully organized" and had more political impact than "Revolution 1".[19] Ian MacDonald remarked that "Revolution 9" evoked the era's revolutionary disruptions and their repercussions, and thus was culturally "one of the most significant acts The Beatles ever perpetrated."[20]
Among more recent reviews, The New Rolling Stone Album Guide said it was "justly maligned", but "more fun than 'Honey Pie' or 'Yer Blues'."[21] Pitchfork reviewer Mark Richardson observed that "the biggest pop band in the world exposed millions of fans to a really great and certainly frightening piece of avant-garde art."[22]
Interpretation
Lennon described "Revolution 9" as "an unconscious picture of what I actually think will happen when it happens, just like a drawing of revolution."[4] He said he was "painting in sound a picture of revolution", but he had mistakenly made it "anti-revolution".[4] In his analysis of the song, MacDonald doubted that Lennon conceptualised the piece as representing a revolution in the usual sense, but rather as "a sensory attack on the citadel of the intellect: a revolution in the head" aimed at each listener.[23] MacDonald also noted that the structure suggests a "half-awake, channel-hopping" mental state, with underlying themes of consciousness and quality of awareness.[24] Others have described the piece as Lennon's attempt at turning "nightmare imagery" into sound,[25] and as "an autobiographical soundscape."[26]
Charles Manson
Based on interviews and testimony, prosecutor Vincent Bugliosi asserted that Charles Manson believed that many songs on the album The Beatles contained references confirming his prediction of an impending apocalyptic race war, a scenario dubbed "Helter Skelter". According to Gregg Jakobson, Manson mentioned "Revolution 9" more often than any of the other album tracks, and he interpreted it as a parallel of Chapter 9 of the Book of Revelation.[27] Manson viewed the piece as a portrayal in sound of the coming black-white revolution.[27] He misheard Lennon's distorted screams of "Right!" within "Revolution 9" as a command to "Rise!" -wiki
No matter what you think...the BEATLES as always, were in the forefront of cutting edge rock.
McCartney argued against including the track on The Beatles. At over eight minutes, it is the longest track that the Beatles officially released.
________________________________________________
We are raised to honor all the wrong explorers & discoverers-
-thieves planting flags, murderers carrying crosses.
Let us at last praise the colonizers of dreams.
-Peter S. Beagle 1973
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Edited by - lemonade kid on 02/03/2012 19:07:20 |
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underture
Fifth Love
482 Posts |
Posted - 02/03/2012 : 21:10:38
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I wonder if there is a word-by-word anaylsis of Revolution 9. Like the part that goes: "...the watusi...the twist...el dorado...take this brother may it serve you well" is typical Lennon nonsense that makes sense as only he could do.
Even in album sequencing the Beatles were ahead of the game. After chaotic Helter Skelter you get the sublime Long, Long, Long and after Revolution 9 you get Good Night. Stark and jarring contrasts.
You Set The Scene |
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Joe Morris
Old Love
3492 Posts |
Posted - 02/03/2012 : 21:20:39
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lyrics for Revolution 9 are out there I'm sure!
I'd rather hear Carnival of Light! |
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lemonade kid
Old Love
USA
9876 Posts |
Posted - 02/03/2012 : 21:49:16
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Revolution 9
....ok, everyone sing along!
Really rather penetrating when read...
Number nine, number nine, number nine, number nine
Number nine, number nine, number nine, number nine
Number nine, number nine, number nine, number nine
Number nine, number nine, number...
...Then there's this Welsh Rarebit wearing some brown underpants
...About the stortage of grain in Hertfordshire
Everyone of them knew that as time went by they'd
Get a little bit older and a little bit slower but...
It's all the same thing, in this case manufactured by
Someone who's always umpteen (...)
Your father's giving it diddly-i-dee district was leaving...
Intended to die (...) Ottoman...
(...)...Long gone through...(...)
I've got to say irritably and...
(...) Floors, hard enough to put on (...) Per day's md in our district
There was not really enough light to get down,
And ultimately (...) Slumped down
Suddenly...
They may stop the funding...
Place your bets
The original
Afraid she'll die (...)
Great colours for the season
Number nine, number nine
Who's to know?
Who was to know?
Number nine, number nine, number nine, number nine
Number nine, number nine, number nine, number nine
Number nine, number nine, number nine, number nine
I sustained nothing worse than (...)
Also, for example
Whatever you're doing
A business deal falls through
I informed him on the third night, when fortune gives...
Be alright, be alright
Right, right, right, right
Right
Number nine, number nine, number nine, number nine
Ri-i-i-i-ight
Ri-i-i-i-i-i-i-i-ight
Number nine, number nine, number nine, number nine
(...) I've missed all of that
It makes me a few day's late
Compared with, like, wow!
And wierd stuff like that...
(...) Taking our sides sometimes
(...) Floral bark
Rouge doctors have brought this specimen
I have nobody's short-cuts, aha...
Nine, number nine
(...) With the situation
They are standing still
The plan, the telegram...
(Hubbbbba, hubbbbba, hubbbbbba, hubbbbba, hubbbbba
Number nine, number Hubbba)
A man without terrors from beard to false
As the headmaster reported to my son
He really can try, as they do, to find function...
Tell what he was saying, and his voice was low and his hive high,
And his eyes were low...
Alright!
It was on fire and his glasses were the same
This thing know if it was tinted,
But you know it isn't
To me it is...
Number nine, number nine, number nine, number nine
Number nine, number nine, number nine, number nine
Number nine, number nine, number nine
So the wife called me and we'd better go to see a surgeon
to price it (...) Yellow underclothes
So, any road, we went to see a dentist instead
That gave her a pair of teeth which wasn't any good at all
So I said I'd marry, join the ****ing navy and went to sea
Block that kick, block that kick
In my broken chair, my wings are broken and so is my hair
I'm not in the mood for whirling
How?
Dogs for dogging, hands for clapping
Bird's for birding, and fish for fishing
Them for themming and when for whemming
...Only to find the night-watchman
Unaware of his presence in the building
Number nine, number nine, number nine, number nine
Number nine, number nine
Industry allows financial imbalance
Thrusting it bewteen his shoulder blades
The watusi, the twist
Eldorado
Take this, brother, may it serve you well
Maybe it's nothing
What, what oh...
Maybe, even then, impervious in London
...Could be difficult thing...
It's quick like rush for peace because it's so much
Like being naked
It's alright, it's alright, it's alright, it's alright
It's alright, it's alright, it's alright, it's alright
It's alright
If, you've become naked
Block that kick, block that kick, block that kick, block that kick
Block that kick, block that kick, block that kick, block that kick
Block that kick, block that kick, block that kick, block that kick
Block that kick, block that kick, block that kick, block that nixon
________________________________________________
We are raised to honor all the wrong explorers & discoverers-
-thieves planting flags, murderers carrying crosses.
Let us at last praise the colonizers of dreams.
-Peter S. Beagle 1973
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Edited by - lemonade kid on 02/03/2012 21:50:53 |
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lemonade kid
Old Love
USA
9876 Posts |
Posted - 02/03/2012 : 23:33:33
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I will say this about artistic "planes" reached.
I would be hard pressed to NOT say that there are a multitude of PLANES, that have only been reached by a particular artist.
Beatles aside, Gene Clark, Townes Van Zandt, Tim Buckley, Tom Waits, Dylan, among others...all have reached personal planes: that rarified air that no other artist has reached in the same way. So in some ways, comparing Beatles to any other artist(s), is like comparing apples and oranges.
The BEATLES, as a unit, were unique and without peers. The highest compliment paid to any band is that they have achieved "Beatlesque" heights.
And that's pretty damn high!
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We are raised to honor all the wrong explorers & discoverers-
-thieves planting flags, murderers carrying crosses.
Let us at last praise the colonizers of dreams.
-Peter S. Beagle 1973
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rocker
Old Love
USA
3606 Posts |
Posted - 05/03/2012 : 21:45:36
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| I have the feeling John must've met JJ (James Joyce) in some foggy dew when he got out Number Nine Number Nine.......John loved words,eh? hehhe I wonder what he would've penned if he ever got to his memoirs! Keef would've had some comp I tell ya. Anyway, I read "Lennon Remembers" every now and then. Everybody needs to read it before they die.... |
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markk
Old Love
USA
803 Posts |
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lemonade kid
Old Love
USA
9876 Posts |
Posted - 17/04/2012 : 20:35:54
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quote:
Originally posted by markk
One more reason I said what i said
http://www.youtube.com/watch?v=UD9aqgKsiq8&feature=related
SOOOOOO GOOD!!
TIme to pull out my original MONO lp!!
"I'm looking through You!!"...brilliant!
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“He created his own Kool Aid reality and was able to illuminate himself by it.”
--Richard Brautigan, Trout Fishing in America |
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THE BEATLES
