Revolution #9 - Comments on this, uh ... "song"
Raul
A total waste of 8 minutes. 8* MINUTES!!
Does anyone actually like it? (who's sober)
Other questions:
What's the number 9 about?
Who is it sayin that?
Why's it called Revolution when it sounds nothing like the other
Revolution songs?
JSeraf7064
sober)
Many like it.
Personally, I don't care for the 'White Album' as it is, anyway.
It is far too eclectic for me, and this 'song' is a perfect example of what I
mean.
Look at Paul's contributions to the album. He oscillated from songs like 'Honey
Pie' a 20's sound, to 'Helter Skelter' ear splitting acid rock, and practically
EVERYTHING in between.
Yes, this is a Beatles trademark (as well as solo Paul's) but the boundaries on
this album were way too wide for me. Paul's got several great songs on this
record, and a few duds.
Going from 'Honey Pie' to 'Helter Skelter' in the same breath is a little too
much... even for Paul.
And, as far as John goes... 'Yer Blues' is angry and vile, and 'Revolution #9'
is little more than an excess. 'Everybody's Got Something To Hide...' is noise
to me.
I'm with George Martin. I would have much preferred a stronger, single album,
because after 'Sgt Pepper', this album seems like a huge let down. The songs
aren't as good, they sound if they were recorded too quickly, without the care
put into 'Sgt. Pepper'.
I would have liked a 'Acoustic' side, with songs like 'Blackbird' and 'Julia'
and other finger-picking/ acoustic songs, and a 'Electric' side, with
'Birthday', 'While My Guitar Gently Weeps'and 'Helter Skelter' and the other
rockers.
But that's just MY preference, and not to offend anyone who likes the 'White
Album' as it is....
-JS
Chimp
Raul wrote:
> A total waste of 8 minutes. 8* MINUTES!!
> Does anyone actually like it? (who's sober)
>
> Other questions:
> What's the number 9 about?
> Who is it sayin that?
> Why's it called Revolution when it sounds nothing like the other
> Revolution songs?
I think the "song" is terribly important in the Beatles legend and rock
and roll itself.
It was totally avantguard and way ahead of it's time. I find it both
bizarre and thought provoking. What does it mean? Here you have all
aspects of a society ripe for revolution. From poverty to high society.
culture to counterculture. Comparing sports to anarchy( it took me years
to understand that the crowd was yelling "Hold that line" not some kind
of protest chant). Beauty is in the eye of the beholder I think it is an
incredible piece.
Oh, by the way, I like "You know my name, look up the number" as well.
Chimp
"...cept for me and my monkey"
Tom
>Personally, I don't care for the 'White Album' as it is, anyway.
>
>It is far too eclectic for me, and this 'song' is a perfect example of what
I
>mean.
>
Personally, that's what I like about the album. They were trying to throw in
EVERYTHING they knew about music. The only album like it in that respect is
the Clash's Sandiniasta, which doesn't have the same level of songwriting.
(obviously)
David Goodwin
Rau...@mailexcite.com (Raul) wrote:
>
>A total waste of 8 minutes. 8* MINUTES!!
>Does anyone actually like it? (who's sober)
>
>Other questions:
>What's the number 9 about?
>Who is it sayin that?
>Why's it called Revolution when it sounds nothing like the other
>Revolution songs?
It's done *well*...I don't casually listen to it, but it isn't bad,
and I certainly value it more than, say, "Return of the Son of Monster
Magnet" on Freak Out!
David
"Morrison even coined a new term: if Miller's works
were pornographic, then rock was pornophonic, or
even stereopornophonic, which was twice as bad."
-Linda Martin/Kerry Segrave
"Anti-Rock: An Opposition to Rock and Roll."
Jeff
A revolutionary track though for it's time
>>What's the number 9 about
It was about the digging up the Paul is dead
clues for those who had turntables up until a
few years ago. You'de spin the record back wards and it would appear to
say turn me on dead man a number of times through out the track. You can
still accomplish this though now
if you have at least a 4 track machine by flipping a cassette tape over,
and by clicking off tracks 3 and 4 on your machine.
>>Who is saying that?
I dunno
>>Why's it called Revolution when it sounds
nothing like the the other Revolution songs
Just to be the first in the history of recorded
music to put something like this on an LP.
L'Crowe
Raul wrote:
> A total waste of 8 minutes. 8* MINUTES!!
> Does anyone actually like it? (who's sober)
>
> Other questions:
> What's the number 9 about?
> Who is it sayin that?
> Why's it called Revolution when it sounds nothing like the other
> Revolution songs?
--
`> a crowe by any other color is still a crowe `>
L'Crowe
well, it was one of LvB's Fantasy pieces. I definitely heard it though, it was a
piano part.
ChrisCoopr wrote:
> >But that's just MY preference, and not to offend anyone who likes the 'White
> >Album' as it is....
> >
>
> That's OK. Me and the other billion of us will survive.
>
> interstate5
Brit boy
Raul wrote:
> A total waste of 8 minutes. 8* MINUTES!!
> Does anyone actually like it? (who's sober)
>
> Other questions:
> What's the number 9 about?
> Who is it sayin that?
> Why's it called Revolution when it sounds nothing like the other
> Revolution songs?
You become NAKED!!!!!!!!!!
ian hammond
>
>A total waste of 8 minutes. 8* MINUTES!!
Eight minutes and 15 to 20 seconds.
>Does anyone actually like it? (who's sober)
Nope. You love it or hate it.
I prefer it to some other Beatle tracks.
>Other questions:
>What's the number 9 about?
Ask in alt.sesame.street.
Lennon considered "9" to be his number.
>Who is it sayin that?
Anonomous.
>Why's it called Revolution when it sounds nothing like the other
>Revolution songs?
It began life as the last six minutes of "Revolution 1". Parts of that
track are still audible.
--
ian
JSeraf7064
this on an LP.
This is not true.
-JS
ChrisCoopr
wtripp
work, "Symphonic Etudes," mm. 173-174, Dame Myra Hess's EMI recording
od which is looped and reversed in 0:21-0:37, 0:57-1:11 and 3:48-4:11.
I identify this and other specific sources for "Rev 9" in my new book,
*The Beatles as Musicians*. we
--
Posted via Talkway - http://www.talkway.com
Exchange ideas on practically anything (tm).
Jeff
little too much
Really.LOL
That was the most exciting thing about every new Beatles LP. You never
knew what was coming up next. With Today's bands,You have
a pretty good idea after about 3 seconds into
the first song what the rest of the music is going
to sound like.
L'Crowe
post it up here.
Greg
wtripp wrote:
--
Matthew Kirkcaldie
>knew what was coming up next. With Today's bands,You have
>a pretty good idea after about 3 seconds into
>the first song what the rest of the music is going
>to sound like.
Yes, there's nobody at all talented musically in the entire world now.
Has it occurred to you that you've failed to seek out interesting music?
It's much easier to market generic music, so that's what the passive
listener gets these days.
Try a His Name is Alive record if you fancy diversity.
Matthew.
Jeff
in the entire world now
I never said that, and it's up to people to find
and seek out the the artists they desire to listen
to whether it is a very popular group or an
unknown group. I used to go out and buy record
Lp's way before the Cd ever came out, and buy
records by artists just by looking at the album
covers and found some great music. It's a risk
but worth it even now if you have the money
to throw away taking this chance. Back in the
70's and 80's, you couldn't listen to a recording
before you bought anything like nowdays unless you had a friend that
owned a record
store or something, so everything has changed.
beatl...@webtv.net
painting. Thats how I think of it... its very late '60s. If you happen
to like abstract visual art, this is quite similar but done in audio.
Its kinda cool and unique I think. It's much deeper and intriguing than
the shrill noises on Two Virgins. I think Rev9 is a pretty bold artistic
statement for a pop album... Perhaps its too bold for a pop album. Many
people didn't get it... you're not alone. I'm certainly in the minority
on this. But I'll defend it, because I do enjoy it when the mood
strikes.
I think the album flow suffers greatly if you remove it, and go from
"Cry Baby Cry" right to "Good Night." If you think about what a
turbulent year 1968 was, it really is a pretty cool way to bring things
to a climax at the end of the album. I can't imagine a song that could
be put in that spot that would have an equally climactic effect. Only my
opinion. I give it a thumbs up for what it was intended to be.
Jay Spangler
- - - - - - - - -
Looking for Beatle Interviews, Photos, Animations, and more? Check out
THE BEATLES ULTIMATE EXPERIENCE website!! The entire story in The
Beatles own words.
http://www.geocities.com/~beatleboy1
unki...@my-dejanews.com
>
It's not suitable as elevator music, and certainly most other Beatles songs
are better....but yeah, I kinda like it in a strange sort of way. Whenever I
hear someone say "Number 9" in the real world, I immediately start hearing
that part of the song in my head even after 30 years. (And I am sober - for
now!)
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dlarsson
beatl...@webtv.net wrote in article
<27781-372...@newsd-112.bryant.webtv.net>...
> I love it. Maybe its just a love for abstract art... its like a sound
> painting. Thats how I think of it... its very late '60s. If you happen
> to like abstract visual art, this is quite similar but done in audio.
> Its kinda cool and unique I think.
It was intended, by John, to be an aural expression of "revolution"
by the people rising up against the establishment in charge of the
Vietnam
fiasco and social repression.
John Lennon commented on this composition (and also "Revolution I" )
during his "Playboy Interviews" in 1980 in which he stated
that "he absolutely wanted to say something about the war and
the political, social, & civil unrest" of that period (1968).
Revolution #9 was also the first (and last -?) of it's kind. There
exists
no other recorded piece of music by any Rock/Pop band that
pre-dates Revolution #9 that is a purely concept piece, and
no one (argueably) has really done anything like it since (although
some 1970's Pink Floyd & ELO stuff followed along the same lines).
Lennon had to fight resistence against his more conservative,
non-political,
and commerically-focused bandmates, i.e. Paul & Ringo, to even
make & record "social message" songs at all.
"Revolution", for example, would have been a prized single for most
bands.
It was released by the Beatles only as a B-side (yet still got enough
radio air-play to chart in the billboard top ten!)
George Harrison, though, was very supportive of "Revolution 9" and
assisted Lennon with some of the tape loop pre-mixing. He can
be heard saying "Eldorado" on the recording.
From Playboy (1980):
LENNON: "I took the fade out part (of Revolution I), which is what they
sometimes do now with disco records, and I layered all this stuff over
it. It has the basic rhythm of the original slow version of
"Revolution"
going on with some twenty loops I put on, things from the archives of
EMI. We
were cutting up classical music and making different sized loops. I got
to an
engineer tape where some test engineer was saying 'number nine, number
nine'.
All those different bits of sound and noises are all compiled. There
were about ten tape machines with people holding pencils on the loops -
some
only inches long and some along a yard long. I fed them all in and
mixed them live. I did a few mixes until I got one I liked. I spent more
time
on 'Revolution 9' then I did on half the songs I ever wrote. It was a
montage."
> I'm certainly in the minority
> on this. But I'll defend it, because I do enjoy it when the mood
> strikes.
You're not alone.
History has rewarded Lennon for his perseverence and sense of principal.
Against the backdrop of the plots to kill of M.L. King and R. Kennedy
(clearing the path for R. Nixon) and the blind onslaught of the war .. it
was
significant for the number one Rock-n-Roll band to weigh in with music
to go with Lennon's other public comments of protest.
Unlike Bob Dylan and Jagger's "Street Fighting Man" Lennon was
gearing up to a real open, public committment against the war (which
he would later dub his "peace campaign").
-Derek
=====================================
Derek Larsson EMail: dlar...@erols.com
=====================================
Tom
> Revolution #9 was also the first (and last -?) of it's kind. There
>exists
> no other recorded piece of music by any Rock/Pop band that
> pre-dates Revolution #9 that is a purely concept piece,
Virgin Forest by the Fugs, for one, pre-dates it. Daevid Allen has a piece
from 69 that has a similar concept behind it.
eufemiano s.amillategui
d. escribió:
> > Revolution #9 was also the first (and last -?) of it's kind. There
> > exists
> > no other recorded piece of music by any Rock/Pop band that
> > pre-dates Revolution #9 that is a purely concept piece, and
> > no one (argueably) has really done anything like it since (although
> > some 1970's Pink Floyd & ELO stuff followed along the same lines).
>
> There is a whole sub-genre of alternative rock that does this kind of
> thing. Eugene Chadbourne, for instance.
> - d.
huh?,..revolution #9? first piece on avant-garde????,...has at less 'one or
two' precedents, see john cage's avant-garde music (which delighted our
little yoko) and 'carnival of light' by paul mccartney!
just sauntering,...