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Showing most liked content on 07/04/2017 in all areas

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    I havent done much art-like stuff for a while. Sometimes I get reminded of stuff I did and I think shit yeah, I occasionally do something worthwhile! I ran a club night for 5/6 years (and spin offs) and did all the poster design. Need to get back on it. Here's a simple design that I was really happy with. A photoshop job run through a banged up old photocopier a few times - shrunk and blown up - and then rescanned and layered CMYK in photoshop.
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    Watching S03E01 rn How is this show so good
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    Sitting on the front porch watching my kid play in the water. She said she wants to listen to punk rock. I'm so proud.
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    Why does this interview feel like it was scripted by Lynch
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    I'm sat here twiddling my thumbs, scrolling through my instagram feed looking at all the designers and artists I follow and wishing I could get away with some doodling. Damn my open plan office! I need to get on with more stuff like this.
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    For how thoroughly he over labels everything it seems like he'd be better suited to just publishing lists of things he doesn't like
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    The Leftovers, Twin Peaks S3, The People Vs OJ Simpson, Legion. We really are being spoilt these days aren't we.
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    Welp John being in denial about Evie was a brutal sledgehammer to the heart huh. I've got something in my eye. Might be my own cum.
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    You know in that opening scene where that woman loses faith and then, defeated, lies down as if to die? Man I know those feels.
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    the protracted s3 was a true gift, every episode is perfect. enjoy tonkys
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    its always it is I, me, who is mad me a bit when a front cover lists the songs out of order wonderful album though obviously. ive never bothered ranking the byrds albums cuz the quality is so consistent it's pointless
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    It's odd that this is the only thing I own by them. It's not their best from what I've heard,but it's alright,I suppose.
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    hmm Radiohead - OK Computer The Cardigans - Emmerdale Big Thief - Capacity Johnny Jewel - Windswept The Yossarians - Fabric of Time Pulp - This Is Hardcore Miles Davis - In A Silent Way Bill Evans - Undercurrent Jan Jelinek - Loop-Finding-Jazz-Records Shoji Meguro - Persona 5 OST
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    bartender says hey we dont serve robots and the robot says oh but someday you will
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    SUMMARY: 1 A Day in the Life 2 Happiness Is a Warm Gun 3 Tomorrow Never Knows 4 For No One 5 Dear Prudence 6 Strawberry Fields Forever 7 I Am the Walrus 8 I'm Only Sleeping 9 You Never Give Me Your Money 10 In My Life 11 She Said She Said 12 We Can Work It Out 13 Norwegian Wood (This Bird Has Flown) 14 Eleanor Rigby 15 Paperback Writer 16 Help! 17 Rain 18 I Saw Her Standing There 19 Across the Universe 20 Twist and Shout 21 Something 22 Here, There, and Everywhere 23 While My Guitar Gently Weeps 24 Helter Skelter 25 Long, Long, Long 26 Penny Lane 27 All My Loving 28 Hey Jude 29 You've Got to Hide Your Love Away 30 Golden Slumbers 31 Ticket to Ride 32 A Hard Day's Night 33 Yesterday 34 Here Comes the Sun 35 Girl 36 Within You Without You 37 Getting Better 38 I Want to Hold Your Hand 39 Taxman 40 Day Tripper 41 I've Just Seen a Face 42 I Want You (She's So Heavy) 43 She Loves You 44 Come Together 45 I Will 46 Please Please Me 47 With a Little Help from My Friends 48 And Your Bird Can Sing 49 Back in the USSR 50 I'm So Tired
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    @Aruji, @Boofie Brown, @C.I., @Hoogie Boogie Land, @mass hysteria , @moose ,@John McClane and @Leo also ranked their favorite beatles, these are the results: 1. John 2. Paul 3. George 4. Ringo (these results shocked me, fwiw^)
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    so @Aruji, @deadlizard, @Boofie Brown, @C.I., @Hoogie Boogie Land, @Kemper Boyd, @rubber-man @John McClane and @Leo went the extra mile and also ranked their favorite beatles albums, here are those results: Album Title Release Year 1 Revolver 1966 2 The Beatles 1968 3 Please Please Me 1963 4 A Hard Day's Night 1964 5 Abbey Road 1969 6 Rubber Soul 1965 7 Magical Mystery Tour 1967 8 Sgt. Peppers Lonely Hearts Club Band 1967 9 Help! 1965 10 With The Beatles! 1963 11 Beatles For Sale 1964 12 Let It Be 1970 13 Yellow Submarine 1969 14 Past Masters, Vol 2 1966 15 Past Masters, Vol 1 1963 16 Live At The BBC
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    1. A Day In The Life (1967) Primary Vocalist: Lennon-McCartney Primary Songwriter: Lennon-McCartney Official Credit: Lennon-McCartney from the album The Beatles Released 22 November 1968 Recorded 23–26 September 1968 Background John Lennon wrote the melody and most of the lyrics to the verses of "A Day in the Life" in mid January 1967.[4] Soon afterwards, he presented the song to Paul McCartney, who contributed a middle-eight section.[5] In a 1970 interview, Lennon discussed their collaboration on the song: According to author Ian MacDonald, "A Day in the Life" was strongly informed by Lennon's LSD-inspired revelations, in that the song "concerned 'reality' only to the extent that this had been revealed by LSD to be largely in the eye of the beholder".[7] Beatles biographer Jonathon Gould writes that "of the many ambitious pop singles released during the fall of 1966, none had a stronger influence on the Beatles than the Beach Boys' 'Good Vibrations'".[8] In a 1968 editorial for Jazz & Pop, writer Gene Sculatti called the single the "ultimate in-studio production trip", adding that its influence was apparent in songs such as "A Day in the Life".[9][nb 1] Lyrics Tara Browne According to Lennon, the inspiration for the first two verses was the death of Tara Browne, the 21-year-old heir to the Guinness fortune who had crashed his Lotus Elan on 18 December 1966 in Redcliffe Gardens, Earl's Court. Browne had been a friend of Lennon and McCartney,[11] and had, earlier in 1966, instigated McCartney's first experience with LSD.[12] Lennon adapted the song's verse lyrics from a story in the 17 January 1967 edition of the Daily Mail,[13] which reported the ruling on a custody action over Browne's two young children. During a writing session at McCartney's house in north London, Lennon and McCartney fine-tuned the lyrics, using an approach that author Howard Sounes likens to the cut-up technique popularised by William Burroughs.[14] "I didn't copy the accident," Lennon said. "Tara didn't blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the song—not noticing traffic lights and a crowd forming at the scene—were similarly part of the fiction."[15] McCartney expounded on the subject: "The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don't believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John's head it might have been. In my head I was imagining a politician bombed out on drugs who'd stopped at some traffic lights and didn't notice that the lights had changed. The 'blew his mind' was purely a drugs reference, nothing to do with a car crash."[16] "4,000 holes" Lennon wrote the song's final verse inspired by a Far & Near news brief, in the same 17 January edition of the Daily Mail that had inspired the first two verses. Under the headline "The holes in our roads", the brief stated: "There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey. If Blackburn is typical, there are two million holes in Britain's roads and 300,000 in London."[17] In his lyrics, Lennon mentions the Royal Albert Hall, a symbol of Victorian-era London and a concert venue usually associated with classical music performances. The story had been sold to the Daily Mail in Manchester by Ron Kennedy of the Star News agency in Blackburn. Kennedy had noticed a Lancashire Evening Telegraph story about road excavations and in a telephone call to the Borough Engineer's department had checked the annual number of holes in the road.[18] Lennon had a problem with the words of the final verse, however, not being able to think of how to connect "Now they know how many holes it takes to" and "the Albert Hall". His friend Terry Doran suggested that the holes would "fill" the Albert Hall.[19] Drug culture McCartney said about the line "I'd love to turn you on", which concludes both verse sections: "This was the time of Tim Leary's 'Turn on, tune in, drop out' and we wrote, 'I'd love to turn you on.' John and I gave each other a knowing look: 'Uh-huh, it's a drug song. You know that, don't you?'"[20][nb 2] George Martin commented that he had always suspected that the line "found my way upstairs and had a smoke" was a drug reference, recalling how the Beatles would "disappear and have a little puff", presumably of marijuana, but not in front of him.[23] "When [Martin] was doing his TV programme on Pepper", McCartney recalled later, "he asked me, 'Do you know what caused Pepper?' I said, 'In one word, George, drugs. Pot.' And George said, 'No, no. But you weren't on it all the time.' 'Yes, we were.' Sgt. Pepper was a drug album."[24][nb 3] Other reference points Author Neil Sinyard attributed the third-verse line "The English Army had just won the war" to Lennon's role in the film How I Won the War, which he had filmed during September and October 1966. Sinyard said: "It's hard to think of [the verse] ... without automatically associating it with Richard Lester's film."[27] The middle-eight that McCartney provided for "A Day in the Life" was a short piano piece he had been working on independently, with lyrics about a commuter whose uneventful morning routine leads him to drift off into a dream.[28][not in citation given] McCartney had written the piece as a wistful recollection of his younger years, which included riding the 82 bus to school, smoking, and going to class.[29][30] This theme—the Beatles' youth in the north of England—matched that of "Penny Lane" (a street in Liverpool) and "Strawberry Fields Forever" (an orphanage behind Lennon's house), two songs written for the album but were released instead as a double A-side single.[31] Musical structure and development Basic track The Beatles began recording the song, with a working title of "In the Life of ...", at EMI's Studio Two on 19 January 1967.[32] The line-up as they rehearsed the track was Lennon on piano, McCartney on Hammond organ, George Harrisonon acoustic guitar, and Ringo Starr on congas.[33] The band then taped four takes of the rhythm track, by which point Lennon had switched to acoustic guitar and McCartney to piano, with Harrison now playing maracas.[33][34] As a link between the end of the second verse, where Lennon sings "I'd love to turn you on", and the start of McCartney's middle-eight, the band included a 24-bar bridge.[35] At first, the Beatles were not sure how to fill this link section.[36]At the conclusion of the session on 19 January, the transition consisted of a simple repeated piano chord and the voice of assistant Mal Evans counting out the bars. Evans' voice was treated with gradually increasing amounts of echo. The 24-bar bridge ended with the sound of an alarm clock triggered by Evans. Although the original intent was to edit out the ringing alarm clock when the section was filled in, it complemented McCartney's piece – which begins with the line "Woke up, fell out of bed" – so the decision was made to keep the sound.[37][nb 4] The track was refined with remixing and additional parts added on 20 January and 3 February.[37][38] During the latter session, McCartney and Starr re-recorded their contributions on bass guitar and drums, respectively.[39] Starr later highlighted his fills on the song as typical of an approach whereby "I try to become an instrument; play the mood of the song. For example, 'Four thousand holes in Blackburn, Lancashire,' – boom ba bom. I try to show that; the disenchanting mood."[40] As on the 1966 track "Rain", music journalist Ben Edmonds recognises Starr's playing as reflective of his empathy with Lennon's songwriting. In Edmonds' description, the drumming on "A Day in the Life" "transcends timekeeping to embody psychedelic drift – mysterious, surprising, without losing sight of its rhythmic role".[41] Orchestra The song's orchestral segments reflect the influence of avant-gardecomposers such as Karlheinz Stockhausen (left, at an awards ceremony in Amsterdam in October 1969). The orchestral portions of "A Day in the Life" reflect Lennon and McCartney's interest in the work of avant-garde composers such as Karlheinz Stockhausen, Luciano Berio and John Cage.[42] To fill the empty 24-bar middle section, Lennon's request to George Martin, the band's producer, was that the orchestra should provide "a tremendous build-up, from nothing up to something absolutely like the end of the world".[43] McCartney suggested having the musicians improvise over the segment.[37] To allay concerns that classically trained musicians would be unable to do this, Martin wrote a loose score for the section.[44] Using the rhythm implied by Lennon's staggered intonation on the words "turn you on",[45] the score was an extended, atonal crescendo that encouraged the musicians to improvise within the defined framework.[37] The orchestral part was recorded on 10 February 1967 in Studio One at EMI Studios,[46] with Martin and McCartney conducting a 40-piece orchestra.[47] The recording session was completed at a total cost of £367 (equivalent to £6,007 in 2015)[48] for the players, an extravagance at the time.[49] Martin later described explaining his score to the puzzled orchestra: McCartney had originally wanted a 90-piece orchestra, but this proved impossible. Instead, the semi-improvised segment was recorded multiple times, filling a separate four-track tape machine,[38]and the four different recordings were overdubbed into a single massive crescendo.[37] The results were successful; in the final edit of the song, the orchestral bridge is reprised after the final verse.[51] At the end of the night, the four Beatles and some of their guests overdubbed an extended humming sound to close the song – an idea that they later discarded. According to Beatles historian Mark Lewisohn, the tapes from this 10 February orchestral session reveal the guests breaking into loud applause following the second orchestral passage.[59] Among the EMI staff attending the event, one recalled how Ron Richards, the Hollies' producer, was stunned by the music he had heard; in Lewisohn's description, Richards "[sat] with his head in his hands, saying 'I just can't believe it … I give up.'"[47] Martin later offered his own opinion of the orchestral session: "part of me said 'We're being a bit self-indulgent here.' The other part of me said 'It's bloody marvellous!'"[59]The Beatles hosted the orchestral session as a 1960s-style happening,[53][54] with guests including Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, Michael Nesmith, and members of the psychedelic design collective The Fool.[47] Overseen by Tony Bramwell of NEMS Enterprises, the event was filmed for use in a projected television special that never materialised.[51][nb 5] Reflecting the Beatles' taste for experimentation and the avant garde, the orchestra players were asked to wear formal dress and then given a costume piece as a contrast with this attire.[58] This resulted in different players wearing anything from fake noses to fake stick-on nipples. Martin recalled that the lead violinist performed wearing a gorilla paw, while a bassoon player placed a balloon on the end of his instrument.[49] Final chord A grand piano in EMI's Studio Two, where the closing piano chord was recorded on 22 February 1967 Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history.[49][60] Overdubbed in place of the vocal experiment from 10 February, this chord was added during a session at EMI's Studio Two on 22 February.[61] Lennon, McCartney, Starr and Evans shared three different pianos, with Martin on a harmonium, and all played an E-major chord simultaneously. The chord was made to ring out for over forty seconds by increasing the recording sound level as the vibration faded out. Towards the end of the chord the recording level was so high that listeners can hear the sounds of the studio, including rustling papers and a squeaking chair.[62] This final E chord represents a VI to the song's tonic G major. However, Dominic Pedler argues that the preceding chord changes (from F ("them all") to E ("Now they know") Em7 ("takes to fill") C ("love to turn you") and B ("on")) followed by the chromatic ascent, shift one's sense of the tonic from G to E, creating a different feeling from the usual emotional uplift associated with a VI modulation.[63] Also present at the session was David Crosby of the Byrds. He recalled his reaction to hearing the completed song: "man, I was a dish-rag. I was floored. It took me several minutes to be able to talk after that."[64] Due to the multiple takes required to perfect the orchestral cacophony and the final chord, the total duration of time spent recording "A Day in the Life" was 34 hours.[65] In contrast, the Beatles' debut album, Please Please Me, had been recorded in its entirety in only 10 hours, 45 minutes.[66] Variations On the Sgt. Pepper album, the start of "A Day in the Life" is cross-faded with the applause at the end of the previous track "Sgt. Pepper's Lonely Hearts Club Band (Reprise)". On The Beatles 1967–1970 LP, "A Day in the Life" fades in through the Sgt. Pepper cross-fade, but on Imagine: John Lennon and the CD version of 1967–1970, the song starts cleanly, without any fade or cross-fade.[67][68] Following "A Day in the Life" on the Sgt. Pepper album (as first released on LP in the UK and years later worldwide on CD) is a high-frequency 15-kilohertz tone and some randomly spliced Beatles studio chatter. The frequency is best understood as what we know as a dog whistle as the frequency is picked up by a dog's ear and was part of their humour. They joked about picturing barking dogs should they be present when the album would finish. Recorded two months after the mono and stereo masters for "A Day in the Life" had been finalised, the studio chatter (titled in the session notes "Edit for LP End") was added to the run-out groove of the initial British pressing. There are even a few variations of the chatter, though the best known one is them saying during the laughter and chatter "never could see any other way."[69] The Anthology 2 album includes an early, pre-orchestral version of the song and Anthology 3 includes a version of "The End" that concludes by having the last note fade into the final chord of "A Day in the Life" (reversed, then played forwards).[70] The Love version has the song starting with Lennon's intro of "sugar plum fairy", with the strings being more prominent during the crescendos. Radio ban The song became controversial for its supposed references to drugs. The BBC announced that it would not broadcast "A Day in the Life" due to the line "I'd love to turn you on", which, according to the corporation, advocated drug use.[11]Other lyrics allegedly referring to drugs include "found my way upstairs and had a smoke / somebody spoke and I went into a dream". A spokesman for the BBC stated: "We have listened to this song over and over again. And we have decided that it appears to go just a little too far, and could encourage a permissive attitude to drug-taking."[25][nb 6] The ban was eventually lifted on 13 March 1972.[72][nb 7] Recognition and reception Recalling the release of Sgt. Pepper in his 1977 book The Beatles Forever, Nicholas Schaffner wrote that "Nothing quite like 'A Day In The Life' had been attempted before in so-called popular music" in terms of the song's "use of dynamics and tricks of rhythm, and of space and stereo effect, and its deft intermingling of scenes from dream, reality, and shades in between". Schaffner said that in the context of 1967, the track "was so visually evocative it seemed more like a film than a mere song".[74] Richard Goldstein of The New York Times called the song "a deadly earnest excursion in emotive music with a chilling lyric ... [that] stands as one of the most important Lennon-McCartney compositions … [and] an historic Pop event".[75] In a contemporary music critics' poll published by Jazz & Pop magazine, "A Day in the Life" won in the categories of Best Pop Song and Best Pop Arrangement.[76] In his appraisal of the song, musicologist Walter Everett states that, as on the band's Revolver album, "the most monumental piece on Sgt. Pepper's Lonely Hearts Club Band was Lennon's". He identifies the track's most striking feature as "its mysterious and poetic approach to serious topics that come together in a larger, direct message to its listeners, an embodiment of the central ideal for which the Beatles stood: that a truly meaningful life can be had only when one is aware of one's self and one's surroundings and overcomes the status quo."[77] Author Philip Norman describes "A Day in the Life" as a "masterpiece" and cites it as an example of how Sgt. Pepper "certainly was John's Freak Out!", referring to the 1966 album by the Mothers of Invention.[78] "A Day in the Life" became one of the Beatles' most influential songs, and is now considered by many to be the band's greatest work. Paul Grushkin, in his book Rockin' Down the Highway: The Cars and People That Made Rock Roll, called the track "one of the most ambitious, influential, and groundbreaking works in pop music history".[79] According to musicologist John Covach, "'A Day in the Life' is perhaps one of the most important single tracks in the history of rock music; clocking in at only four minutes and forty-five seconds, it must surely be among the shortest epic pieces in rock."[80] In his review of the 50th anniversary edition of Sgt. Pepper for Rolling Stone, Mikal Gilmore says that "A Day in the Life" and Harrison's "Within You Without You" are the only songs on the album that transcend its legacy as "a gestalt: a whole that was greater than the sum of its parts".[81] "A Day in the Life" appears on many top songs lists. It placed twelfth on CBC's 50 Tracks, the second highest Beatles song on the list after "In My Life".[82] It placed first in Q magazine's list of the 50 greatest British songs of all time, and was at the top of Mojo's 101 Greatest Beatles' Songs, as decided by a panel of musicians and journalists.[83][84][85] "A Day in the Life" was also nominated for a Grammy in 1967 for Best Arrangement Accompanying Vocalist or Instrumentalist.[86] In 2004, Rolling Stone ranked it at number 26 on the magazine's list of "The 500 Greatest Songs of All Time",[87] and in 2010, deemed it to be the Beatles' greatest song.[24] It is listed at number 5 in Pitchfork Media's "The 200 Greatest Songs of the 1960s".[88]
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    3. Tomorrow Never Knows (1966) Primary Vocalist: Lennon Official Credit: Lennon-McCartney from the album Revolver Published Northern Songs Released 5 August 1966 Recorded 6, 7 and 22 April 1966 Inspiration John Lennon wrote the song in January 1966, with lyrics adapted from the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert, and Ralph Metzner, which was in turn adapted from the Tibetan Book of the Dead.[6] Although Peter Brown believed that Lennon's source for the lyrics was the Tibetan Book of the Deaditself, which, he said, Lennon had read whilst under the influence of LSD,[7] George Harrison later stated that the idea for the lyrics came from Leary, Alpert, and Metzner's book;[8] Paul McCartney confirmed this, stating that when he and Lennon visited the newly opened Indica bookshop, Lennon had been looking for a copy of The Portable Nietzsche and found a copy of The Psychedelic Experience that contained the lines: "Whenever in doubt, turn off your mind, relax, float downstream".[9] Lennon bought the book, went home, took LSD, and followed the instructions exactly as stated in the book.[10][11] The book held that the "ego death" experienced under the influence of LSD and other psychedelic drugs is essentially similar to the dying process and requires similar guidance.[12][13] This is a state of being known by eastern mystics and masters as samādhi (a state of being totally aware of the present moment; a one-pointedness of mind). Title The title never actually appears in the song's lyrics. Lennon later revealed that, like "A Hard Day's Night", it was taken from one of Ringo Starr's malapropisms.[14] In a television interview in early 1964, Starr had uttered the phrase "Tomorrow never knows" when laughing off an incident that took place at the British Embassy in Washington, DC, during which one of the guests had cut off a portion of his hair.[15] The piece was originally titled "Mark I".[9] "The Void" is cited as another working title but according to Mark Lewisohn (and Bob Spitz) this is untrue. Musical structure McCartney remembered that even though the song's harmony was mainly restricted to the chord of C, Martin accepted it as it was and said it was "rather interesting". The song's harmonic structure is derived from Indian music and is based upon a high volume C drone played by Harrison on a tamboura.[16] The "chord" over the drone is generally C major, but some changes to B flat major result from vocal modulations, as well as orchestral and guitar tape loops.[17][18]The song has been called the first pop song that attempted to dispense with chord changes altogether.[16] Here, the Beatles' harmonic ingenuity is nonetheless displayed in the upper harmonies – "Turn off your mind", for example, is suitably a run of unvarying E melody notes, before "relax" involves an E–G melody note shift and "float downstream" an E–C–G descent.[19] "It is not dying" involves a run of three G melody notes that rise on "dying" to a B♭, creating a ♭VII/I (B♭/C) 'slash' polychord.[19] This is a prominent device in Beatles songs such as "All My Loving", "Help!", "A Hard Day's Night", "Norwegian Wood (This Bird Has Flown)", "Hey Jude", "Dear Prudence", "Revolution" and "Get Back".[20] Recording Lennon first played the song to Brian Epstein, George Martin and the other Beatles at Epstein's house at 24 Chapel Street, Belgravia, London.[21] The 19-year-old Geoff Emerick was promoted to replace Norman Smith as engineer on the first session for the Revolver album. This started at 8 pm on 6 April 1966, in Studio Three at Abbey Road.[9]Lennon told producer Martin that he wanted to sound like a hundred chanting Tibetan monks, which left Martin the difficult task of trying to find the effect by using the basic equipment they had. The effect was achieved by using a Leslie speaker. When the concept was explained to Lennon, he inquired if the same effect could be achieved by hanging him upside down and spinning him around a microphone while he sang into it.[9][22] Emerick made a connector to break into the electronic circuitry of the cabinet and then re-recorded the vocal as it came out of the revolving speaker.[23][24] As Lennon hated doing a second take to double his vocals, Ken Townsend, the studio's technical manager, developed an alternative form of double-tracking called artificial double tracking (ADT) system, taking the signal from the sync head of one tape machine and delaying it slightly through a second tape machine.[25] The two tape machines used were not driven by mains electricity, but from a separate generator which put out a particular frequency, the same for both, thereby keeping them locked together.[25]By altering the speed and frequencies, he could create various effects, which the Beatles used throughout the recording of Revolver.[26] Lennon's vocal is double-tracked on the first three verses of the song: the effect of the Leslie cabinet can be heard after the (backwards) guitar solo.[27][28] The track included the highly compressed drums that the Beatles currently favoured, with reverse cymbals, reverse guitar, processed vocals, looped tape effects, a sitar and a tambura drone.[22] The use of these ¼-inch audio tape loops resulted primarily from McCartney's admiration for Stockhausen's Gesang der Jünglinge.[29][30] By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used in musique concrète.[29] The tape could also be induced to go faster and slower. McCartney encouraged the other Beatles to use the same effects and create their own loops.[18] After experimentation on their own, the various Beatles supplied a total of "30 or so" tape loops to Martin, who selected 16 for use on the song.[31] Each loop was about six seconds long.[31] The tape loops were played on BTR3 tape machines located in various studios of the Abbey Road building[32] and controlled by EMI technicians in Studio Two at Abbey Road on 7 April.[33][22] Each machine was monitored by one technician, who had to hold a pencil within each loop to maintain tension.[31] The four Beatles controlled the faders of the mixing console while Martin varied the stereo panning and Emerick watched the meters.[34][35] Eight of the tapes were used at one time, changed halfway through the song.[34] The tapes were made (like most of the other loops) by superimposition and acceleration.[36][37] According to Martin, the finished mix of the tape loops could not be repeated because of the complex and random way in which they were laid over the music.[38] Five tape loops are prominent in the finished version of the song. According to author Ian MacDonald, writing in the 1990s, these loops contain the following: A recording of McCartney's laughter, sped up to resemble the sound of a seagull (enters at 0:07) An orchestral chord of B flat major (0:19) A Mellotron on its flute setting (0:22) A Mellotron strings sound, alternating between B flat and C in 6/8 time (0:38) A sitar playing a rising scalar phrase, recorded with heavy saturation and sped up (0:56).[39] Author Robert Rodriguez writes that the content of the five loops has continued to invite debate among commentators, however, and that the manipulation applied to each of the recordings has made them impossible to decipher with authority.[40] Based on the most widely held views, he says that, aside from McCartney's laughter and the B flat major chord, the sounds were two loops of sitar passages, both reversed and sped up, and a loop of Mellotron string and brass voicings.[41] In their book Recording the Beatles, Kevin Ryan and Brian Kehew list two loops of sitar recordings yet, rather than Mellotron, list a mandolin or acoustic guitar, treated with tape echo.[15][42] Lennon was later quoted as saying that "I should have tried to get my original idea, the monks singing. I realise now that's what I wanted."[43] The Beatles experimented further with tape loops in "Carnival of Light", an unreleased piece recorded during the Sgt. Pepper's Lonely Hearts Club Band sessions, and in "Revolution 9", released on The Beatles.[44] Take one of "Tomorrow Never Knows" was included on the Anthology 2 compilation in 1996.[43] After completing the recording, McCartney was eager to gauge the reaction of the band's contemporaries. On 2 May, he played the song to Bob Dylan at the latter's hotel suite in London; as the track started, Dylan said dismissively: "Oh, I get it. You don't want to be cute anymore."[45] According to Marianne Faithfull, who was also present, Dylan then walked out of the room.[46] McCartney recalled that when the Beatles played the song to members of the Rolling Stones and the Who, they "visibly sat up and were interested", whereas Cilla Black "just laughed".[47] Interpretation Harrison questioned whether Lennon fully understood the meaning of the song's lyrics: Release and reception "Tomorrow Never Knows" was sequenced as the final track on Revolver, which EMI's Parlophone label issued on 5 August 1966.[49] In his design for the LP cover, Klaus Voormann drew inspiration from the song, recognising the need for artwork that would capture the Beatles' new direction[50] and the avant-garde aspect of the recording.[51] Voormann later said that he found "Tomorrow Never Knows" "frightening", adding that it was "so far away from the early Beatles stuff that even I myself thought, well, the normal kind of Beatles fan won't want to buy this record. But they did."[52] Reaction to the release was "generally ecstatic", according to MacDonald, with listeners marvelling at the album's "aural invention".[53] To the Beatles' less progressive fans, however, the radical changes in the band's sound were the source of confusion.[54] The editor of the Australian teen magazine Mirabelle wrote: "Everyone, from Brisbane to Bootle, hates that daft song Lennon sang at the end of Revolver."[47] In his review for the NME, Allen Evans said, in response to the lyric's exhortation to "relax and float downstream": "But how can you relax with the electronic, outer-space noises, often sounding like seagulls? … Only Ringo's rock-steady drumming is natural."[55] Peter Jones of Record Mirrorcommented: "You need some sort of aural microscope to get the message from this. But it's darned compelling listening."[56] Writing in 1977, author Nicholas Schaffner said that those who had been confused by the lyrics were most likely unfamiliar with hallucinogenic drugs and Timothy Leary's message, but that the transcendental quality became clear during the build-up to the 1967 Summer of Love.[57] In 2006, Pitchfork Media ranked "Tomorrow Never Knows" at number 19 on its list of "The 200 Greatest Songs of the 1960s"[58] and Q magazine placed the track 75th on a list of "The 100 Greatest Songs of All Time".[15] "Tomorrow Never Knows" appears at number 18 on Rolling Stone's list of the best Beatles songs[59][60] and at number 4 on a similar list compiled by Mojo.[61] In popular culture According to Colin Larkin, writing in the Encyclopedia of Popular Music, "Tomorrow Never Knows" has been recognised as "the most effective evocation of a LSD experience ever recorded".[66] Ian MacDonald says that the song's message represented a revolutionary concept in mainstream society in 1966. He adds: "'Tomorrow Never Knows' launched the till-then élite-preserved concept of mind-expansion into pop, simultaneously drawing attention to consciousness-enhancing drugs and the ancient religious philosophies of the Orient, utterly alien to Western thought in their anti-materialism, rapt passivity, and world-sceptical focus on visionary consciousness."[67]
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    5. Dear Prudence (1968) Primary Vocalist: Lennon Primary Songwriter: Lennon Official Credit: Lennon-McCartney from the album The Beatles Published Northern Songs Released 22 November 1968 Recorded 28–30 August 1968 at Trident Studios, London Background The subject of the song is Prudence Farrow, a sister of actress Mia Farrow, who was present when the Beatles went to India to study with Maharishi Mahesh Yogi.[1] Farrow became so serious about her meditation that she "turned into a near recluse" and "rarely came out" of the cottage she was living in. John Lennon and George Harrison were asked to "contact her and make sure she came out more often to socialize". As a result, Lennon wrote the song "Dear Prudence". In the song, Lennon asks Farrow to "open up your eyes" and "see the sunny skies", reminding her that she is "part of everything". The song was said to be "a simple plea to a friend to 'snap out of it'".[4] According to Farrow: "I would always rush straight back to my room after lectures and meals so I could meditate. John, George and Paul would all want to sit around jamming and having a good time and I'd be flying into my room. They were all serious about what they were doing, but they just weren't as fanatical as me."[5] Lennon did play the song for Farrow while they were in India together. According to Farrow, "I was flattered. It was a beautiful thing to have done."[4] The lyrics of the song are simple and innocent and praise the beauty of nature in the lines: "The sun is up, the sky is blue, it's beautiful, and so are you."[3] Recording The Beatles recorded the song at Trident Studios in London on 28, 29 and 30 August 1968.[6] Utilising state-of-the-art eight-track recording equipment, the basic track included finger picking guitar performed by Lennon as well as Harrison on lead guitar, plus McCartney playing the drums in place of Ringo Starr, who had temporarily left the Beatles. The next day, McCartney overdubbed the bass track and Lennon recorded additional layers to his vocals. Handclapping, cowbell and tambourine were then added by Harrison and McCartney. On the last day of the recording session, piano and flugelhorn tracks were recorded by McCartney.[4][3] On The Beatles album, the song was sequenced as the second track on side one, its introduction cross-faded with the sounds of a jet aircraft landing which conclude the previous track, "Back in the U.S.S.R."[3] The descending chromatic bass-line in the song is similar to that of "Lucy in the Sky with Diamonds".[7] The song was first played on the radio in November and December of that year.[3]
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    6. Strawberry Fields Forever (1967) Primary Vocalist: Lennon Primary Songwriter: Lennon Official Credit: Lennon-McCartney Single by the Beatles A-side "Penny Lane" Released 13 February 1967 Format 7-inch record Recorded 24 November – 22 December 1966 Background and writing Strawberry Field was the name of a Salvation Army children's home just around the corner from Lennon's childhood home in Woolton, a suburb of Liverpool.[9] Lennon and his childhood friends Pete Shotton, Nigel Walley and Ivan Vaughan used to play in the wooded garden behind the home.[10][11]One of Lennon's childhood treats was the garden party held each summer in Calderstones Park, near the home, where a Salvation Army bandplayed.[12] Lennon's aunt Mimi Smith recalled: "As soon as we could hear the Salvation Army band starting, John would jump up and down shouting, 'Mimi, come on. We're going to be late.'"[11][13] Lennon's "Strawberry Fields Forever" and Paul McCartney's "Penny Lane" shared the theme of nostalgia for their early years in Liverpool. Although both referred to actual locations, the two songs also had strong surrealistic and psychedelic overtones.[14] Producer George Martin said that when he first heard "Strawberry Fields Forever", he thought it conjured up a "hazy, impressionistic dreamworld".[15] The Beatles had just retired from touring after one of the most difficult periods of their career,[16] including the "more popular than Jesus" controversy and the band's unintentional snubbing of Philippines First Lady Imelda Marcos.[17][18] Lennon talked about the song in 1980: "I was different all my life. The second verse goes, 'No one I think is in my tree.' Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius – 'I mean it must be high or low' ",[19] and explaining that the song was "psycho-analysis set to music".[15] Lennon began writing the song in Almería, Spain, during the filming of Richard Lester's How I Won the War in September–October 1966.[20][21] The earliest demo of the song, recorded in Almería, had no refrain and only one verse: "There's no one on my wavelength / I mean, it's either too high or too low / That is you can't you know tune in but it's all right / I mean it's not too bad". He revised the words to this verse to make them more obscure, then wrote the melody and part of the lyrics to the refrain (which functioned as a bridge and did not yet include a reference to Strawberry Fields). He subsequently added another verse and the mention of Strawberry Fields.[22] The first verse on the released version was the last to be written, close to the time of the song's recording. For the refrain, Lennon was again inspired by his childhood memories: the words "nothing to get hung about" were inspired by Aunt Mimi's strict order not to play in the grounds of Strawberry Field, to which Lennon replied, "They can't hang you for it."[23] The first verse Lennon wrote became the second one in the released version of the song, and the second verse Lennon wrote became the last in the release. Although "Strawberry Fields Forever" is primarily Lennon's composition, in 1967 Lennon said that McCartney had contributed to the song, just as he had helped McCartney complete "Penny Lane". McCartney wrote the melody for the Mellotron introduction, which George Martin called a "simple but inspired piece of composition".[24] Musical structure The song was originally written on acoustic guitar in the key of C major. The recorded version is approximately in B♭ major; owing to manipulation of the recording speed, the finished version is not in standard pitch (some, for instance, consider that the tonic is A).[25] The introduction was played by McCartney on a Mellotron,[16] and involves a I–ii–I–♭VII–IV progression.[26] The vocals enter with the chorus instead of a verse.[27] In fact we are not "taken down" to the tonic key, but to "non-diatonic chords and secondary dominants" combining with "chromatic melodic tension intensified through outrageous harmonisation and root movement".[28] The phrase "to Strawberry" for example begins with a somewhat dissonant G melody note against a prevailing F minor key, then uses the semi-tone dissonance B♭ and B notes (the natural and sharpened 11th degrees against the Fm chord) until the consonant F note is reached on "Fields". The same series of mostly dissonant melody notes cover the phrase "nothing is real" against the prevailing F♯7 chord (in A key).[28] A half-measure complicates the meter of the verses, as well as the fact that the vocals begin in the middle of the first measure. The first verse comes after the refrain, and is eight measures long. The verse (for example "Always, no sometimes ...") starts with an F major chord in the key of B♭ (or E chord in the key of A) (V), which progresses to G minor, the submediant, a deceptive cadence. According to Alan Pollack, the "approach-avoidance tactic" (i.e., the deceptive cadence) is encountered in the verse, as the leading-tone, A, appearing on the words "Always know", "I know when", "I think I know of thee"[29] and "I think I disagree", never resolves into a I chord (A in A key) directly as expected.[30] Instead, at the end of the verse, the leading note, harmonised as part of the dominant chord, resolves to the prevailing tonic (B♭) at the end of the verse, after tonicizing the subdominant (IV) E♭ chord, on "disagree".[25] In the middle of the second chorus, the "funereal brass" is introduced, stressing the ominous lyrics.[27] After three verses and four choruses, the line "Strawberry Fields Forever" is repeated three times, and the song fades out with guitar, cello and swarmandal instrumentation. The song fades back in after a few seconds into the "nightmarish" ending, with the Mellotron playing in a haunting tone – one achieved by recording the Mellotron "Swinging Flutes" setting in reverse[31] – scattered drumming, and Lennon murmuring, after which the song completes.[27][30] Recording The song's working title was "It's Not Too Bad".[32] Recording began on 24 November 1966, in Abbey Road's Studio Two on a 4-track machine.[33] The sessions marked the start of recording for what became the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. The song took 45 hours to record, spread over five weeks.[34][35][36] The band recorded three distinct versions of the song. After Lennon played the song for the other Beatles on his acoustic guitar, the band recorded the first take. Lennon played an Epiphone Casino; McCartney played a Mellotron, a tape replay keyboard instrument purchased by Lennon in August 1965 (with another model hired in after encouragement from keyboardist Mike Pinder of the Moody Blues);[37] George Harrison played electric slide guitar,[38] and Ringo Starr played drums.[39] The first recorded take began with the verse "Living is easy …", instead of the chorus, "Let me take you down", which starts the released version. The first verse also led directly to the second, with no chorus between. Lennon's vocals were automatically double-tracked from the words "Strawberry Fields Forever" through the end of the last verse. The last verse, beginning "Always, no sometimes", has three-part harmonies, with McCartney and Harrison singing "dreamy background vocals".[22][40] This version was soon abandoned and went unreleased until the Anthology 2 compilation in 1996. Four days later the band reassembled to try a different arrangement. The second version of the song featured McCartney's Mellotron introduction followed by the refrain. They recorded five takes of the basic tracks for this arrangement (two of which were false starts) with the last being chosen as best and subjected to further overdubs. Lennon's final vocal was recorded with the tape running fast so that when played back at normal speed the tonality would be altered, giving his voice a slurred sound. This version was used for the first minute of the released recording. After recording the second version of the song, Lennon wanted to do something different with it, as Martin remembered: "He'd wanted it as a gentle dreaming song, but he said it had come out too raucous. He asked me if I could write him a new line-up with the strings. So I wrote a new score[41] (with four trumpets and three cellos) and we recorded that, but he didn't like it."[33] Meanwhile, on 8 and 9 December, another basic track was recorded, using Mellotron, electric guitar, piano, backwards-recorded cymbals, and swarmandel, an Indian version of the zither.[42][43] After reviewing the tapes of Martin's version and the original, Lennon told Martin that he liked both versions,[44] although Martin had to tell Lennon that the orchestral score was at a faster tempo and in a higher key (B major) than the first version (A major).[30] Lennon said, "You can fix it, George", giving Martin and Geoff Emerick, the band's recording engineer, the difficult task of joining the two takes together.[45][46] With only a pair of editing scissors, two tape machines and a vari-speed control, Emerick compensated for the differences in key and speed by increasing the speed of the first version and decreasing the speed of the second.[16] He then spliced the versions together,[44] starting the orchestral score in the middle of the second chorus.[45] (Since the first version did not include a chorus after the first verse, he also spliced in the first seven words of the chorus from elsewhere in the first version.) The pitch-shifting in joining the versions gave Lennon's lead vocal a slightly other-worldly "swimming" quality.[47] Some vocalising by Lennon is faintly audible at the end of the song, picked up as leakage onto one of the drum microphones (close listening shows Lennon making other comments to Starr). In the "Paul is Dead" hoax these were taken to be Lennon saying "I buried Paul."[48] In 1974, McCartney said, "That wasn't 'I buried Paul' at all – that was John saying 'cranberry sauce' … That's John's humour … If you don't realise that John's apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, 'Aha!'"[49] Shortly before his death in 1980, Lennon expressed dissatisfaction with the final version of the song, saying it was "badly recorded" and accusing McCartney of subconsciously sabotaging the recording.[50] Promotional film When manager Brian Epstein pressed Martin for a new Beatles single, Martin told Epstein that the group had recorded "Strawberry Fields Forever" and "Penny Lane", which in his opinion were their two finest songs to date.[51] Epstein said they would issue the songs as a double A-side single, a format they had used for their previous single, "Yellow Submarine"/"Eleanor Rigby", in August 1966.[51] The Beatles produced a promotional film clip for "Strawberry Fields Forever", which served as an early example of what became known as a music video.[52] It was filmed on 30 and 31 January 1967 at Knole Park in Sevenoaks, Kent.[53] The clip was directed by Peter Goldmann,[54] a Swedish television director who had been recommended to the Beatles by their mutual friend Klaus Voormann.[55] One of the band's assistants, Tony Bramwell, served as producer. Bramwell recalls that, inspired by Voormann's comment on hearing "Strawberry Fields Forever" – that "the whole thing sounded like it was played on a strange instrument" – he spent two days dressing up a large tree in the park to resemble "a piano and harp combined, with strings". Writing for Mojo magazine in 2007, John Harrisremarked that Bramwell's set design reflected the "collision of serenity and almost gothic eeriness" behind the finished song.[56] The film features reverse film effects, stop motion animation, jump-cuts from daytime to night-time, and the Beatles playing and later pouring paint over the upright piano.[57] During the same visit to Knole Park, the band shot part of the promotional film for "Penny Lane".[58][nb 1] In 2015, the promo film was included in the three-disc versions (titled 1+) of the Beatles' compilation 1.[60] Release The double A-side single was issued by Capitol Records in the US on 13 February 1967, and by EMI's Parlophone label in the United Kingdom on 17 February.[51] Aside from the compilation album A Collection of Beatles Oldies, it was the first release by the Beatles since Revolver and their August 1966 single. Recalling the reaction to the new single and the expectations it created for Sgt. Pepper, music critic Greil Marcus later wrote: "If this extraordinary music was merely a taste of what The Beatles were up to, what would the album be like?" In Britain, "Strawberry Fields Forever" / "Penny Lane" was the first Beatles single since "Please Please Me" in 1963 that failed to reach number one on Record Retailer's chart (later the UK Singles Chart). The single was held at number two behind Engelbert Humperdinck's "Release Me". In a radio interview at the time, McCartney said he was not upset because Humperdinck's song was a "completely different type of thing",[62] while Harrison acknowledged that "Strawberry Fields Forever", like all of the Beatles' latest music, was bound to alienate much of their audience but would also win them new fans.[63] Starr recalled that the single's failure to top the chart was "a relief" because "it took the pressure off".[64] On the national chart compiled by Melody Maker magazine, however, the combination topped the singles list for three weeks.[65] In the US, "Penny Lane" reached number one on the Billboard Hot 100, while "Strawberry Fields Forever" peaked at number eight. In keeping with the Beatles' usual philosophy that tracks released on a single should not appear on new albums, both songs were left off Sgt. Pepper's Lonely Hearts Club Band. Martin later stated that this was a "dreadful mistake".[66] In the US, the two songs were included on the Magical Mystery Tour LP, which was released as a six-track double EP in the UK. "Strawberry Fields Forever" was the opening track of the compilation album 1967–1970, released in 1973,[68] and also appears on the Imagine soundtrack issued in 1988.[69] In 1996, three previously unreleased versions of the song were included on the Anthology 2 album: Lennon's original home demo, an altered version of the first studio take, and the complete take seven, of which only the first minute was heard in the master version.[70] In 2006, a newly mixed version of the song was included on the album Love.[16] This version builds from an acoustic demo (which was run at the actual recorded speed) and incorporates elements of "Hello, Goodbye", "In My Life", "Sgt. Pepper's Lonely Hearts Club Band", "Penny Lane" and "Piggies".[71] Critical reception Among initial reviews of the single, the NME's Derek Johnson confessed to being both fascinated and confused by "Strawberry Fields Forever", writing: "Certainly the most unusual and way-out single The Beatles have yet produced – both in lyrical content and scoring. Quite honestly, I don't really know what to make of it."[72] Time magazine hailed the song as "the latest sample of the Beatles' astonishing inventiveness".[73] "Strawberry Fields Forever" has continued to receive acclaim from music critics. Richie Unterberger of AllMusic describes the song as "one of The Beatles' peak achievements and one of the finest Lennon-McCartney songs".[27] Ian MacDonald wrote in Revolution in the Head that it "shows expression of a high order … few if any [contemporary composers] are capable of displaying feeling and fantasy so direct, spontaneous, and original."[74] In 2004, this song was ranked number 76 on Rolling Stone's list of "The 500 Greatest Songs of All Time".[6] In 2010, Rolling Stone placed it at number three on the 100 Greatest Beatles Songs.[75][76] "Strawberry Fields Forever" was ranked as the second-best Beatles song by Mojo, after "A Day in the Life".[77] The song is ranked as the 8th greatest of all time by Acclaimed Music.[78] XFM radio placed the song 73rd in their list of the 100 Best British Songs and 176th in their Top 1000 Songs of All Time list.[79][80] Cultural influence Mark Lindsay of the US band Paul Revere & the Raiders recalled buying the single and first listening to it at home with his producer at the time, Terry Melcher. According to Lindsay: "When the song ended we both just looked at each other. I said, 'Now what the fuck are we gonna do?' With that single, the Beatles raised the ante as to what a pop record should be." Lindsay ensured that the clips for both sides of the single were broadcast on the Raiders' television show, Where the Action Is.[81] Brian Wilson of the Beach Boys heard "Strawberry Fields Forever" while he was underway with Smile, his intended follow-up to the band's 1966 album Pet Sounds. According to author Steven Gaines, this event was one of several factors that accelerated Wilson's plummeting emotional state and led to the project's collapse, as Wilson could not find a way to complete the album to his satisfaction.[82] In the recollection of Jack Rieley, the Beach Boys' former manager, Wilson feared that what he had accomplished over the last several months of recording would sound dated to contemporary rock audiences.[83][nb 2] In 2014, Wilson stated that he thought "Strawberry Fields Forever" was "a weird record", but denied that it had "weakened" him.[86] The promotional films for "Strawberry Fields Forever" and "Penny Lane" were selected by New York City's MoMA as two of the most influential music videos of the late 1960s.[87] Both were originally broadcast in the US on 25 February 1967, on the variety show The Hollywood Palace, with actor Van Johnson as host.[88] The Ed Sullivan Show and other variety shows soon dropped their time constraints to allow for psychedelic music performances. A cartoon based on the song was the final episode produced for The Beatles animated television series.[89] "Strawberry Fields Forever" figures prominently in the Spanish film Living Is Easy with Eyes Closed (2013), in which a fictional story is told of Lennon's true, original development of the song in 1966 in Spain.[citation needed]
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    8. I'm Only Sleeping (1966) Primary Vocalist: Lennon Primary Songwriter: Lennon Official Credit: Lennon-McCartney from the album Revolver Released 5 August 1966 (UK) 20 June 1966 (US: Yesterday and Today) Recorded 27 and 29 April, 5 and 6 May 1966 Background and inspiration The first draft of Lennon's lyrics for "I'm Only Sleeping", written on the back of a letter from 1966, suggests that he was writing about the joys of staying in bed rather than any drug euphoria sometimes read into the lyrics.[4] While not on tour, Lennon would usually spend his time sleeping, reading, writing or watching television, often under the influence of drugs, and would have to be woken by McCartney for their songwriting sessions.[5] In a London Evening Standard article published on 4 March 1966, Maureen Cleave, a friend of Lennon's, wrote: "He can sleep almost indefinitely, is probably the laziest person in England. 'Physically lazy,' he said. 'I don't mind writing or reading or watching or speaking, but sex is the only physical thing I can be bothered with any more.'"[6] Recording The recording of the song began at EMI Studios on 27 April 1966[7] with eleven takes of the rhythm track,[8] comprising two acoustic guitars, bass and drums.[9][10] Five further takes of the song were recorded but none was used.[10] Take 11 was chosen as the master and two days later Lennon added his lead vocals.[8] On 5 May, George Harrison wrote and recorded the double guitar part. The next day the recording was completed by Lennon, McCartney and Harrison's backing vocals.[11] The song features the then-unique sound of a reversed guitar duet played by Harrison in a five-hour late-night recording session with producer George Martin.[12] Harrison perfected the part with the tape running backwards so that, when reversed, it would fit the dreamlike mood.[13] One guitar was recorded with fuzz effects, the other without. Engineer Geoff Emerick described the meticulous process as "interminable". "I can still picture George hunched over his guitar for hours on end", Emerick wrote in 2006, "headphones clamped on, brows furrowed in concentration."[4] During the break before the second bridge, the sound of a yawn can be heard, preceded by Lennon saying to McCartney, "Yawn, Paul."[12]
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    10. In My Life (1965) Total Points: 800, Highest Placement: Yanniv97 It feel this is one of the first songs they wrote that was bigger than their themes of puppy love. A real evolution in their evolving, maturing perspective. - Boofie Brown Primary Vocalist: Lennon Primary Songwriter: Lennon Official Credit: Lennon-McCartney Rubber Soul Released 3 December 1965 Recorded 18 and 22 October 1965 Composition According to Lennon, the song's origins can be traced to when the English journalist Kenneth Allsop made a remark that Lennon should write songs about his childhood.[6] Afterwards, Lennon wrote a song in the form of a long poem reminiscing on his childhood years. The original version of the lyrics was based on a bus route he used to take in Liverpool, naming various sites seen along the way, including Penny Lane and Strawberry Field.[7] Those original lyrics are on display at The British Library. However, Lennon found it to be "ridiculous", calling it "the most boring sort of 'What I Did On My Holidays Bus Trip' song"; he reworked the words, replacing the specific memories with a generalized meditation on his past.[8] "Very few lines" of the original version remained in the finished song.[7] According to Lennon's friend and biographer Peter Shotton, the lines "Some [friends] are dead and some are living/In my life I've loved them all" referred to Stuart Sutcliffe (who died in 1962) and to Shotton.[6] In a 1980 interview, Lennon referred to this song as his "first real major piece of work" because it was the first time he penned personal lyrics about his own life.[9] Regarding authorship of the melody, Lennon's and McCartney's recollections differ. Referring to McCartney, Lennon said "his contribution melodically was the harmony and the middle-eight itself."[8][10] McCartney claimed he set Lennon's lyrics to music from beginning to end, taking inspiration for the melody from songs by Smokey Robinson & the Miracles.[11][12] "I liked 'In My Life'. Those were words that John wrote, and I wrote the tune to it. That was a great one."[13] Recording The song was recorded on 18 October 1965, and was complete except for the instrumental bridge.[14] At that time, Lennon had not decided what instrument to use, but he subsequently asked George Martin to play a piano solo, suggesting "something Baroque-sounding".[1] Martin wrote a Bach-influenced piece that he found he could not play at the song's tempo. On 22 October, the solo was recorded with the tape running at half speed, so when played back at normal pace the piano was twice as fast and an octave higher, solving the performance challenge and also giving the solo a unique timbre, reminiscent of a harpsichord.[7][14]
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    The Flaming Lips - Strobo Trip a.k.a. the Flaming Lips three-song "EP" with a song that's six hours long. For some reason this is still rated very high on RYM, far higher than the 24-hour "gummy skull" album 7 Skies H3. And it came out in the wake of Embryonic, which for all its faults I still liked more than the albums surrounding it. So why not give it a try?
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    11. She Said She Said(1966) Total Points: 514, Total Votes: 15 Highest Placement: 3 Primary Vocalist: McCartney Primary Songwriter: McCartney Official Credit: Lennon-McCartney Revolver Released 5 August 1966 Recorded 9, 16 and 19 May 1966 Writing and recording McCartney recalls writing "For No One" in the bathroom of a ski resort in the Swiss Alps[4] while on holiday with his then girlfriend Jane Asher.[5] He said, "I suspect it was about another argument."[5] The lyrics end enigmatically with "...a love that should have lasted years..." The song's working title was "Why Did It Die?"[6] It is built upon a descending scale progressionwith a refrain that modulates to the supertonic minor. The song was recorded on 9, 16 and 19 May 1966. McCartney sang and played clavichord (rented from George Martin's AIRcompany), piano and bass guitar, while Ringo Starr played drums, tambourine and maracas.[7][8] John Lennon and George Harrison did not contribute to the recording.[9] The French horn solo was by Alan Civil, a British horn player described by recording engineer Geoff Emerick as the "best horn player in London".[10] During the session, McCartney pushed Civil to play a note that was beyond the usual range of the instrument. According to Emerick, the result was the "performance of his life."[10] Civil said that the song was "recorded in rather bad musical style, in that it was 'in the cracks', neither B-flat nor B-major. This posed a certain difficulty in tuning my instrument."[11] Background and inspiration In late August 1965, Brian Epstein had rented a house at 2850 Benedict Canyon Drive in Beverly Hills, California for the Beatles' six-day respite from their US tour.[6][7] The large Spanish-style house was tucked into the side of a mountain. Soon their address became widely known and the area was besieged by fans, who blocked roads and tried to scale the steep canyon while others rented helicopters to spy from overhead. The police department detailed a tactical squad of officers to protect the band and the house. The Beatles found it impossible to leave and instead invited guests, including actors Eleanor Bron (who co-starred with them in Help!), Peggy Lipton and folk singer Joan Baez.[8] On 24 August,[6] they hosted the Byrds and actor Peter Fonda. All except Paul McCartney took LSD.[8] Fonda wrote for Rolling Stone magazine: The Beatles attending a press conference in Bloomington, Minnesota, earlier in their 1965 US tour As the group passed time in the large sunken tub in the bathroom,[8] Fonda brought up his nearly fatal self-inflicted childhood gunshot accident, writing later that he was trying to comfort a frightened George Harrison.[9] Fonda said that he knew what it was like to be dead. Lennon snapped, "Listen mate, shut up about that stuff",[8] and "You're making me feel like I've never been born."[9] Harrison recalls in The Beatles Anthology: "[Fonda] was showing us his bullet wound. He was very uncool."[10] Lennon later explained: When someone realised that they had not eaten all day, the group tried to make dinner in the kitchen. Lennon, however, was too confused from the drug to use his knife and fork properly, and as he tried to stop his food from moving around on his plate he spilled it onto the floor.[8] Actress Salli Sachse recalled of Fonda's enthusiasm for the band: "Peter was really into music. He couldn't wait until The Beatles' Revolver album came out. We went to the music store and played it, trying to hear any hidden messages."[11] Composition According to Harrison, he helped Lennon construct "She Said, She Said" from "maybe three" separate segments that Lennon had. Harrison described the process as "a real weld".[12] The song is in the key of B♭ Mixolydian, based on three chords: B♭ (I), A♭ (♭VII), and E♭(IV). The key centre shifts to E♭ major during the bridge sections by means of an F minor (v) chord, a pivot chord that the Beatles had used to modulate to the subdominant before on "From Me to You" and "I Want to Hold Your Hand". Since the guitars on the official recording are audibly played in A, the song must have been sped up one semitone (by this time the Beatles routinely played with varying tape speeds), unless the guitarists retuned or used capos. The coda features a canonic imitation in the voice parts, a development of the idea originally presented by Harrison's lead guitar in the verse. Lennon's Hammond organ part consists entirely of one note – a tonic B-flat held throughout and faded in and out. The track incorporates a change of metre, following Harrison's introduction of such a musical device into the Beatles' work with his Indian-styled composition "Love You To".[13] "She Said She Said" uses both 3/4 and 4/4 time, shifting to 3/4 on the line "No, no, no, you're wrong" and back again on "I said …" The middle part consists of another song fragment that Lennon had penned. At Harrison's suggestion, Lennon used this fragment in the middle of "She Said, She Said".[14] In this section, the subject of Lennon's lyrics changes from his recollection of the LSD episode with Fonda to a reminiscence of childhood. Lennon sings, "When I was a boy everything was right/ Everything was right", providing a foil to the chaotic feelings of "I know what it's like to be dead". "She Said, She Said" is often noted for Ringo Starr's "circular" patterns and other contributions: Starr himself has expressed particular pride in his performances during this era. Some drum enthusiasts have referred to Starr's performance on this track as one of the best drum tracks ever recorded in pop music, comparing the approach to that of Mitch Mitchell, drummer for The Jimi Hendrix Experience, who was himself a follower of Elvin Jones. Ian MacDonald rates the drumming as "technically finer than [Starr's] other tour-de-force, 'Rain'". In his commentary on "She Said She Said", music critic Tim Riley describes Harrison's guitar introduction as "outwardly harnessed, but inwardly raging". He praises the song's expression of the "primal urge" for innocence, which imbues the lyric with "complexity", as the speaker suffers through feelings of "inadequacy", "helplessness" and "profound fear".[15] In Riley's opinion, the track's "intensity is palpable" and "the music is a direct connection to [Lennon's] psyche"; he adds that "at the core of Lennon's pain is a bottomless sense of abandonment", a theme that the singer would return to in late 1966 with "Strawberry Fields Forever".[16] Denver memorabilia collector Chris Lopez discovered a tape made by Lennon while composing "She Said She Said". The source was Anthony Cox, the former husband of Lennon's second wife, Yoko Ono. Cox sold it along with other recordings made by Lennon at Christie's Auction House in London. Recording "She Said, She Said" was the final track recorded during the Revolver sessions.[17] It took nine hours to rehearse and record the song, complete with overdubs.[17] After the recording, the Beatles' producer, George Martin, is reported to have said: "All right, boys, I'm just going for a lie-down." McCartney could not recall if he appeared on the recording: "I think we had a barney or something and I said, 'Oh, fuck you!,' and they said, 'Well, we'll do it.' I think George played bass."[4] In his 2012 book on the making of Revolver, author Robert Rodriguez highlights McCartney's walkout as one of "a handful of unsolved Beatles mysteries".[18] When identifying the probable causes for McCartney's uncharacteristic behaviour, Rodriguez cites later comments made by Lennon: specifically that Lennon appreciated Harrison's tendency to "take it as-is" whereas McCartney often took a musical arrangement in a direction he himself preferred; and that, given Lennon and Harrison's habit of teasing their bandmate over his refusal to take LSD, McCartney possibly felt alienated by the song's subject matter.[19]
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    12. We Can Work It Out (1966) Primary Vocalist: McCartney - Lennon Primary Songwriter: Lennon - McCartney Official Credit: Lennon-McCartney Recorded 20 and 29 October 1965 Released 3 December 1965 Composition McCartney wrote the words and music to the verses and the chorus, with lyrics that "might have been personal", probably a reference to his relationship with Jane Asher.[5] McCartney then took the song to Lennon: With its intimations of mortality, Lennon's contribution to the twelve-bar bridge contrasts typically with what Lennon saw as McCartney's cajoling optimism,[4] a contrast also seen in other collaborations by the pair, such as "Getting Better" and "I've Got a Feeling". As Lennon told Playboy in 1980: Based on those comments, some critics overemphasised McCartney's optimism, neglecting the toughness in passages written by McCartney,[4] such as "Do I have to keep on talking until I can't go on?". Lennon's middle shifts focus from McCartney's concrete reality to a philosophical perspective in B minor, illustrating this with the waltz-time section suggested by George Harrison that leads back to the verse,[5] possibly meant to suggest tiresome struggle.[4] Music critic Ian MacDonald said: Recording The Beatles recorded "We Can Work It Out" at EMI Studios (later Abbey Road Studios) in London on 20 October 1965,[8] during the sessions for their Rubber Soul album. Along with Lennon's "Day Tripper", the song was earmarked for the non-album single that would accompany the release of the new LP.[9] The band taped a satisfactory basic track in just two takes.[10] With nearly eleven hours dedicated to the song, however, it was by far their longest expenditure of studio time up to that point.[11] A vocal overdubbing session took place on 29 October.[9][12] No record exists of the band members' exact contributions to the recording, leading to uncertainty regarding the playing of some of the instruments.[13] Reduced to a single track in the final mix, where it was placed hard left in the stereo image, the group's initial performance consisted of acoustic guitar, bass, tambourine and drums.[14][15] While musicologist Walter Everett credits these parts to Lennon, McCartney, Harrison and Ringo Starr, respectively,[14] authors Jean-Michel Guesdon and Philippe Margotin suggest that McCartney, as the song's main composer, was the acoustic guitarist and Lennon instead played bass.[13] Two harmonium parts were overdubbed,[16] using EMI's Mannborg harmonium.[17] Promotional films For the first time for one of their singles, the Beatles filmed promotional clips for "We Can Work It Out" and "Day Tripper". Subsequently known as the "Intertel Promos", these clips were intended as a way to save the band having to appear in person on popular British television shows such as Ready Steady Go! and Top of the Pops,[18] and also ensured that the Beatles reached their large international audience.[19] Filming took place at Twickenham Film Studios in south-west London on 23 November 1965,[19] with Joe McGrath as director.[18] The Beatles made a total of ten black-and-white promos that day,[20][21] filming clips for the new songs as well as for their previous hit singles "I Feel Fine", "Ticket to Ride" and "Help!"[18][22][nb 1] Three of the films were mimed performances of "We Can Work It Out",[22] in all of which Lennon was seated at a harmonium.[23] The most frequently broadcast of the three was a straightforward performance piece with the group wearing black suits. In the description of Rolling Stone journalist Rob Sheffield: "At first, they're playing it all straight in their suits, until John sets out to make Paul crack up on camera. He makes it impossible for anyone else to keep a straight face – by the end, he's playing the organ with his feet."[24] Another clip shows the group wearing the stage suits from their Shea Stadium performance on 15 August.[23] The third clip opens with a still photograph of Lennon with a sunflower[20] in front of his eye.[25] Release In a discussion about which of the two songs should be the A-side of the new single, Lennon had argued for "Day Tripper", differing with the majority view that "We Can Work It Out" was a more commercial song.[5] On 15 November, EMIannounced that the A-side would be "We Can Work It Out", only for Lennon to publicly contradict this two days later.[26] As a result, the single was marketed as the first-ever "double A-side".[19][27] Lennon's championing of "Day Tripper", for which he was the principal writer, was based on his belief that the Beatles' rock sound should be favoured over the softer style of "We Can Work It Out".[28] Airplay and point-of-sale requests soon proved "We Can Work It Out" to be the more popular of the two sides. The single was released on EMI's Parlophone label in Britain (as Parlophone R 5389) on 3 December 1965,[29] the same day as Rubber Soul.[19] The two releases coincided with speculation in the UK press that the Beatles' superiority in the pop world since 1963 might be coming to an end, given the customary two or three years that most acts could expect to remain at the peak of their popularity.[30] "Day Tripper" / "We Can Work It Out" entered the UK Singles Chart (at the time, the Record Retailer chart)[31] on 15 December, at number 2, before holding the top position for five consecutive weeks.[32] The single also failed to top the national chart published by Melody Maker in its first week – marking the first occasion since December 1963 that a new Beatles single had not immediately entered at number 1.[33] Although the single was an immediate number 1 on the NME's chart, the Daily Mirror and Daily Express newspapers both published articles highlighting the apparent decline.[34] The record was the Beatles' tenth consecutive chart-topping single in the UK[35] and the band's fastest-selling single there since "Can't Buy Me Love", their previous McCartney-led A-side.[7] As of 2012, it had sold 1.39 million copies in the UK, making it the group's fifth million-seller in that country.[36] In the United States, where the single was issued by Capitol Records on 6 December (as Capitol 5555),[37] both songs entered the Billboard Hot 100 on the week ending 18 December.[38] On 8 January 1966, "We Can Work It Out" hit number 1 on the chart, while "Day Tripper" entered the top ten at number 10.[39] "We Can Work It Out" spent three non-consecutive weeks at number 1, while "Day Tripper" peaked at number 5.[39] The song was the band's eleventh US number 1, accomplished in just under two years since their debut on the Hot 100.[40][41] It was their sixth consecutive number 1 single on the American charts,[42] a record at the time.[40][nb 2] The single was certified gold by the Recording Industry Association of America, for sales of 1 million or over, on 6 January 1966.[44] The Beatles performed "We Can Work It Out" on their final UK tour,[22][45] which took place on 3–12 December 1965.[46] In 1991, McCartney played an acoustic version of the song for his MTV Unplugged performance, later released on Unplugged (The Official Bootleg). One of the November 1965 promo films was included in the Beatles' 2015 video compilation 1, and two were included in the three-disc versions of the compilation, titled 1+.[47][48]
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    new discoveries, rediscoveries, new releases and old favourites Lal and Mike Waterson - Bright Pheobus Anne Briggs - The Time Has Come Beatles - Magical Mystery Tour Vanishing Twin - Choose your own adventure Sinjin Hawke - First Opus Oumou Sangare - Mogoya Ed Dowie - The Uncle Sold Yorkston/Thorne/Khan - Neuk Wight Delhi All-Stars Yo La Tengo - And then nothing turned itself inside out Linda Perhacs - Parallelograms
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    Television-Marquee Moon Tom Ze Estudondo O Samba Clash -London Calling Devo-Freedom Of Choice Radiohead-OK Computer Creedance Clearwater Revival-Green River Big Star-Sister Lovers/Third Richard Hell-Blank Generation Jay Reatard-Blood Visions Nick Drake- Pink Moon
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    Various Artists - Pop Makossa: The Invasive Dance Beat Of Cameroon 1976-1984 Talking Heads - The Name Of This Band Is Talking Heads Lorde - Melodrama Jason Isbell And The 400 Unit - The Nashville Sound Sandy Denny - Sandy Mulatu Astatke - Mulatu Of Ethopia Kate Bush - Hounds Of Love Lal & Mike Waterson - Bright Phoebus Otis Redding - Complete & Unbelievable: The Otis Redding Dictionary Of Soul Alice Coltrane Turiyasangitananda - The Ecstatic Music Of Alice Coltrane Turiyasangitananda
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    Last night I found myself in my old neighborhood (Lincoln Square) at dinnertime, and the party that I was going to had been cancelled. So, I was on my own for dinner. So, I grabbed a Taco In a Bag! Sound kinda wonky, but it's actually pretty fucking delicious. Okay, so they've moved since this (kinda annoying) video was made -- from the suburbs to that Chicago neighborhood that I mentioned. And I did not have the version that was made in the video, but you get the idea. And it was freaking delicious. Highly recommended if you are ever in the area around Lincoln and Lawrence.
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    \ Half of this is fine.This is probably the last album worth owning by them for sure though
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