'” “'Not bad?' Revolution (the fast version) and Revolution 1 (the slow version) had the same lyrics, except where noted below. With this complete, as well as creating a stereo mix of “Revolution 1,” this session ended at 3:30 am the following morning. Revolution 1 is a poor man's Revolution, though it came first. An interesting US vinyl edition of the “White Album” was released on January 7th, 1982, this being manufactured by Mobile Fidelity Sound Lab in Chatsworth, California as part of their "Original Master Recording" series. The big difference was that on this night there was a good deal of resentment among the staff because the session was running quite late – well past midnight – and they wanted to go home. “It was somewhat under her influence, I suppose,” Lennon stated in reference to Yoko Ono. This is the direction The Beatles should be going in from now on.' The album was first released in the US on November 25th, 1968. The first day that attention was given to what we now know as “Revolution 9” was on June 6th, 1968. Revolution is a pretty self-explanatory choice: It was one of those Beatles songs that were solely created to pioneer the sound of heavy metal of the 70s. However, John's idea for creating such a montage may have come from yet another source, although he never admitted it publicly. Author David Quantick, in his book “Revolution: The Making Of The Beatles' White Album,” describes it as “one of the most exciting recordings ever made...the most radical and innovative track ever to bring a rock record to its climax.”, Song Summary The single does have one of the greatest hooks in Rock N Roll going for it however... Yeah bite me. The mistake was that it was anti-revolution.” The tapes aren't around now.” Therefore, the identity of the voice is apparently lost forever. “Revolution 9” is a recorded composition that appeared on the Beatles' 1968 self-titled LP release (popularly known as The White Album). Before they left for the evening, however, sound effects had begun being acquired for future use in John's new brain-child, “Revolution 9.” Mark Lewisohn's book “The Beatles Recording Sessions” describes the effects John assembled as “some of his own making, others culled from his own and the Abbey Road collections.” The ones taken from the EMI library were presumably retrieved by George and Ringo as George had indicated in interviews since they were both present on this day and were out of the country when the remaining sound effects were collected. Lennon said derisively to Paul. The track ran for so long that there is one point where the delay runs out and you can hear the tape being re-wound, live. It wasn't music, but it was a sound picture.". The song was purposely dubbed by the Beatles, during this time they had been around and started the whole "If we play it backwards, what happens?" This means that the “number nine, number nine” tape was acquired on this day. (The brass and lead guitar overdub for "Revolution 1" on June 21st did not play a part in "Revolution 9.") '...It was just John and a rather unenthusiastic George Harrison working on the track. There were actually two recording sessions on June 21st, 1968 in EMI Studio Two. John Lennon: vocals, tape loops, effects, samples George Harrison: vocals, samples Yoko Ono: vocals, effects, samples. “We went into the tape library and looked through the entire room and pulled main selections and gave the tapes to John, and he cut them together...The whole thing, 'Number nine, number nine,' is because I pulled the box number nine...John sat there and decided which bits to cross-fade together but, if Ringo and I hadn't gone there in the first place, he wouldn't have had anything.” George also contributed some spoken ad-libs which made it onto the finished product, so this too could substantiate George as a co-writer of the song. This event came two months after the assassination of Bobby Kennedy, the Democraticpresidential nominee who had pledged to end America's involvement in Vietnam, and coinci… “In 'Revolution 9' we had the STEED system of tape echo fed via a tape delay system. It's Gonna Be Alright: The Revolution trilogy - Part II. The next session for “Revolution 9” was on June 20th, 1968, the session beginning at 7 pm. The song Revolution #9 was written by John Lennon and Paul McCartney and was first released by The Beatles in 1968. Personally, I thought the track was interesting, but it seemed as though it was as much Yoko's as it was John's. In Part 2 of our look at the trio of songs titled … John himself recounted this session in 1980: “There were about ten machines with people holding pencils on the loops – some only inches long and some a yard long. It appears that The Beatles would draw from any and every musical inspiration that would come their way. The song was recorded during the first recordings of The White Album in May 1968, in an attempt by John Lennon to record a long version of "Revolution." He continues: "I took the fade-out part, which is what they sometimes do with disco records now, and just layered all this stuff over it. There were twelve of such sound effects compiled on this day, some of which, we can easily assume, were taken directly from the “trusty green cabinet” of the EMI tape library, although some may have been made by Lennon in his home studio beforehand. I could make some very strange noises and so late at night you would say, 'Listen to this!' John had this to say about that particular tape loop: “The 'number nine...' was an engineer's voice. Author Kevin Howlett then explains, "Paul had discovered that disconnecting the erase head of a Brenell machine allowed a sound to be recorded over and over again, saturating the tape.” I fed them all in and mixed them live. “Yoko was there for the whole thing and she made decisions about which loops to use,” Lennon explains. It did end rather early though, John and Yoko leaving the studio at around 10:15 pm. 1" carries the message more easily and more successfully. Alright, a little bit of insight into this song since there is a lot of confusion. Alistair is heard begging forgiveness from George for forgetting to bring a “bottle of Claret” for him. Merriam Webster defines musique concrete as "a recorded montage of natural sounds often electronically modified and presented as a musical composition." There was almost no recording session in Beatles history that Paul wasn't present for, but this was one of them. These ran for the duration of 'Revolution 9,' being faded in and out of the master at John's whim. Nonetheless, “Revolution 9” has become the most widely known example of musique concrete in the history of recorded sound. "No. These include John's repeated shouting of the words “Right” and “Alright” along with his vocal shenanigans during his initial lead vocal performance on May 31st, 1968. It's random compared with sitting down and saying, 'It's been a hard day's night.'". 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