The usual custom of the time was to create both a stereo and mono mix for release of each Beatles recording. They looked distinctly embarrassed, and you could tell that neither one of them wanted to get caught in the middle of this.” Lennon acknowledged as such himself many times. George's contributions included 'Eldorado' as well as he and John whispering six times over, 'There ain't no rule for the company freaks!' With no gaps in the sequence from “Cry Baby Cry” to “Revolution 9“, the point of track division has varied among different re-issues of the album. parliament and in the army and navy.They were also exempted from taxation and led an extravagant life. That was the extent of his involvement since he was in New York during much of its conception and assemblage. 7.” Also included are Farid al-Atrash's Arabic song “Awal Hamsha” (just after the seven minute mark), a French horn/Oboe duet, a backward electric guitar, and a tape loop that was previously used in the Beatles song “Tomorrow Never Knows.” Various straightforward sound effects are also heard, such as gunfire, loud crashing cymbals, crowd laughter, breaking glass, car horns, and a crowd of American football fans chanting “Hold that line / Block that kick!,”some sources citing that they come from an Elektra Records Sound Effects album. “Revolution 9” Revolution 9 is amazing, it blows my mind man. A 10-plus minute version of The White Album’s Revolution 1 leaked onto the Internet.The track makes it clear why seemingly unrelated Revolution 1 and the maniacal Revolution 9 sound collage share the same name. Retrospectively, Paul had a much better opinion of the track. ^ Thorpe, Vanessa (16 November 2008). "Take 20" is now understood as an effort to release "Revolution 1" and "Revolution 9" as the same track. And Revolution 9 is a purely mad, purely self-indulgent and pretentious piece of John's masterpiece that explores the core of the listener's soul. "It's a set of sounds like walking down the street. I did a few mixes until I got one I liked...I spent more time on 'Revolution 9' than I did on half the other songs I ever wrote." That left George Martin and me alone with Paul, which came as a blessed relief to me after all the stress of the preceding sessions; it always was a lot easier to deal with one Beatle.” Decisions were made on this day to omit songs from the album, these turning out to be George's “Not Guilty” and John's “What's The New Mary Jane.” However, there was also strong consideration for one more omission. I could see from the dark cloud that came over Paul's face that he was totally underwhelmed with 'Revolution 9' when he first head it, and there was an awkward silence after the track faded out. Geoff Emerick recalls: “George Martin had booked all three Abbey Road studios for the complicated mix of the sound pastiche known as 'Revolution 9. The two of them, accompanied by Yoko, would occasionally venture out into the studio to whisper a few random words into a microphone. I just tried to get the bits of conversation in that I liked." The Beatles had assembled in EMI Studio Two on this day at 2:30 pm for work on Ringo's song “Don't Pass Me By,” this rather extensive work taking until approximately midnight. Of the classical music pieces heard therein, sources have cited the following as their sources: Beethoven's Choral Fantasy “The Streets Of Ciaro,” Schumann's “Symphonic Studies” (backwards tape), Vaughan Williams motet “O Clap Your Hands,” and the final chord of Sibelius' “Symphony No. This soon became standard operating procedure for much of the rest of the 'White Album.' "It's not specifically about anything, "John answered. The mono mix of “Revolution 9” was made on August 20th, 1968 in the control room of EMI Studio Three by engineers Ken Scott and John Smith, but not in the usual way. Mark Lewisohn relates: “The original tape does indeed show that John and George went on the studio floor to read out bizarre lines of prose – in voices sometimes equally bizarre – into a couple of microphones, abbetted by Yoko Ono humming at a very high pitch. It did end rather early though, John and Yoko leaving the studio at around 10:15 pm. The first day that attention was given to what we now know as “Revolution 9” was on June 6th, 1968. Author Kevin Howlett then explains, "Paul had discovered that disconnecting the erase head of a Brenell machine allowed a sound to be recorded over and over again, saturating the tape.” The single was simply called 'Revolution' whereas the slow version on the White Album was called 'Revolution 1' (and then there's Revolution 9, which everyone knows about) The mix, numbered RM1, reveals how the song evolved into ‘Revolution 9’, with the extended jamming and various tape loops, and begins with John Lennon announcing “Take your knickers off and let’s go”. Paul absolutely did not want it on the album, and John was just as adamant that it would be on there. Then, just after Yoko's words “you become naked,” he cuts directly into the isolated football crowd chant of “Hold that line / Block that kick” and then fades out the track with this extensive tape loop being the final thing heard. That's my favorite Beatles song this year. Since Paul was not involved in the creating of this recording, most of the time being out of the country, the question remained of what his reaction to the finished “Revolution 9” would be. Yoko, as always, was by his side, whispering in John's ear and lifting the odd fader on occasion. Revolution 9 involves tape editing techniques, inspired by french Musique concrète which was born at the end of the 40's and settled in mid 50's and 60's. There was almost no recording session in Beatles history that Paul wasn't present for, but this was one of them. There were twelve of such sound effects compiled on this day, some of which, we can easily assume, were taken directly from the “trusty green cabinet” of the EMI tape library, although some may have been made by Lennon in his home studio beforehand. Written by: John Lennon / Paul McCartney, CLICK HERE to hear the author's new album "Clarity". Plus the session had to be dead boring for them because they couldn't even hear any sound; they were just standing in the various control rooms, holding pencils while the tape went round and round. Since the complicated stereo mix could in no way be duplicated for a separate mono mix, a decision was made to create a straightforward dub of the stereo mix that combined both channels into one. The flesh was not allos (similar), but heteros (different). Mark Lewisohn writes that John “had a marvelous time” working on this stereo mix, “pushing different images through on both channels and panning the words 'number nine' across the stereo in fractions of a second.” John also thought to pan the final “Hold that line / Drop that kick” chanting back and forth repeatedly during most of the closing seconds. Backwards mellotron (played by John), miscellaneous symphonies and operas.” I think I did it in one go. It was covered by Caballero Reynaldo and The Grand Kazoo, Will Taylor and … Among John's random pieces were 'personality complex,' 'onion soup,' 'economically viable,' 'industrial output,' financial imbalance,' 'the watusi,' 'the twist' and 'take this brother, may it serve you well.' He was the composer and he knew what he wanted, so he manned the faders instead of me, although I served as an extra pair of hands, doing bits of panning and looking after the overall level so things didn't get out of hand and distort.” As indicated above, the recording of "Revolution 9" stems directly from their recording of "Revolution 1," which transpired on May 30th and 31st, as well as June 4th, 1968. Press question mark to learn the rest of the keyboard shortcuts. Never before or since has there been this extensive of an audience for such an experimental and controversial genre of music. The general public may still not understand what Lennon was trying to portray with the sound recording “Revolution 9,” but for those who take the time to appreciate the spirit of experimentation and adventure in recording that The Beatles were spearheading at the time, this track is breathtaking. “It was nice for this to leak into the Beatle stuff as it did." Amazingly, "Revolution 9" has been covered by various people including Chuck U. I do think using all of Revolution take 20 and scrapping Revolution 1 and 9 would've been an improvement to The White Album. I fed them all in and mixed them live. Engineer Alan Brown explains yet another unintentional effect heard prominently on the finished recording. With both George and Ringo absent on this day, both of them flying out to America from June 7th to the 18th, John utilized this studio time by himself (with Yoko undoubtedly by his side) to assemble yet more sound effects for his “sound collage” masterpiece. It's original vinyl release in 1968 was only in stereo since mono albums were practically phased out in the US by that time. You could sit in front of those two speakers and actually see things happening if you shut your eyes. “If he'd raise a fader and there was no sound, he'd say, 'Where's it gone?' Retrieved 12 September 2010. There were actually two recording sessions on June 21st, 1968 in EMI Studio Two. The song that became "Revolution 9" was to act as a coda to what became "Revolution 1". A subreddit dedicated to the greatest band of all time: Ladies and gentlemen, The Beatles! A choir, supplemented by backwards violins. This means that the “number nine, number nine” tape was acquired on this day. Revolution 9 In short, this track is a John Lennon creation with a little help from George Harrison, George Martin, Yoko Ono and a couple of others. With these definitions in mind, “Revolution 9,” as innovative and complex as it is, falls under the category of “musique concrete” and not, in its strictest sense, music. Two days after the record's US release, violent scenes occurred at the 1968 Democratic National Convention in Chicago, as police and National Guardsmen were filmed clubbing Vietnam War protestors. These ran for the duration of 'Revolution 9,' being faded in and out of the master at John's whim. With this complete, as well as creating a stereo mix of “Revolution 1,” this session ended at 3:30 am the following morning. With no gaps in the sequence from "Cry Baby Cry" to "Revolution 9", the point of track division has varied among different re-issues of the album. The next session concerning “Revolution 9” was June 10th, 1968. Revolution #9 had no real lyrics but did come about from these sessions. Of course, John's wife-to-be can easily be included among the composers as well. Author David Quantick, in his book “Revolution: The Making Of The Beatles' White Album,” describes it as “one of the most exciting recordings ever made...the most radical and innovative track ever to bring a rock record to its climax.”, Song Summary The track ran for so long that there is one point where the delay runs out and you can hear the tape being re-wound, live. “In June 1952, I drew four guys playing football and 'number nine' is the number on the guy's back, and that was pure coincidence. John had this to say about that particular tape loop: “The 'number nine...' was an engineer's voice. "I had some stuff I could have done too. In the "Track By Track" section of the 50th Anniversary "White Album" box set, Paul elaborates further: "I had two Brenell tape recorders hooked up, and there were all these electronic composers you were listening to for a break from our own style of music. Revolution 1 and Revolution 9 are essentially the same song. I got intrigued, so I wanted to do one.” Yoko had performed various times with composer and artist John Cage, who was known for his unconventional experimentation with musical sounds. I prefer them in the order you listed, Revolution the most, Revolution 1 second, and fuck Revolution 9. I prefer revolution 1 for John's moaning at the end. It should be also be noted here that “Revolution 1” did not receive it's own distinctive mono mix as most other “White Album” songs did. Even that impromptu thing, an accident, contributed to the finished result.” And many do, such as Beatles producer George Martin, who expressed: "I love 'Revolution 9.' Revolution 1 is a poor man's Revolution, though it came first. It was just sort of far-out music, really. He also explained, "It was like a big organ or something, where I knew vaguely which track would come up if I did that and I'd try to pull out the ones I didn't like. But how about non-musical inspirations? 9' had on the teeny-bopper fans, but most of them didn't dig it; so what am I supposed to do?,” stated John in 1969. The three different versions of this song were recorded over several sessions between May 30 and August 22, 1968. All in all, at least 45 different sound sources have been identified. It had turned John on so he got two Brenells and I set all that up for him at his house." The "Super Deluxe" 6CD + 1Blu-ray edition also contains the complete original 'take 18' of "Revolution 1" as recorded on May 30th and 31st, 1968, elements that ended up within the soundscape of "Revolution 9" being heard therein. To identify and/or categorize all of the sound effects that appear in “Revolution 9” is a true Herculean task. On the morning of 14 July 1789, the city of Paris was in a state of alarm. The single does have one of the greatest hooks in Rock N Roll going for it however... Yeah bite me. “In 'Revolution 9' we had the STEED system of tape echo fed via a tape delay system. Another element surviving from the "Revolution 1" session was Yoko's pre-recorded speech and sound effects tape that she brought to that original rhythm track session on May 30th, 1968, this purposely being picked up by an open microphone at the end of  'take 18.' “'Revolution 9' was quite similar to some stuff I'd been doing myself for fun,” relates Paul in the book “Beatles Anthology,” adding: “I didn't think that mine was suitable for release, but John always encouraged me.” Paul had become intrigued with the works of Stockhausen, as well as others of the experimental genre, as far back as 1965, this leading him to create home-made recordings put together with various tape loops. John himself recounted this session in 1980: “There were about ten machines with people holding pencils on the loops – some only inches long and some a yard long. This unusual version of the track is 10 minutes and 46 seconds long, starting with a slower version of "Revolution 1" before beginning a pattern of sound looping much like that of "Revolution 9". I perfer revolution 9 because it's amazing background music. One final thing needed to be done to get “Revolution 9” to its releasable state, and that was accomplished on June 25th, 1968 in the control room of EMI Studio Two by John and the engineering team of Martin, Emerick and Lush. There are many symbolic things about it, but it just happened.” You really should do it.' Revolution is a pretty self-explanatory choice: It was one of those Beatles songs that were solely created to pioneer the sound of heavy metal of the 70s. This event came two months after the assassination of Bobby Kennedy, the Democraticpresidential nominee who had pledged to end America's involvement in Vietnam, and coinci… On this day, however the session ended after the sound effects were recorded and labeled, the EMI doors apparently closing at 2:45 am the following morning. One interesting element of “Revolution 9” that was recorded on this day involved John, Yoko and George. The first seventeen takes of "Revolution" were shorter versions, while takes 18-20 were extended versions that the band was trying to make into long versions with an extended coda, much like "Hey Jude" and the later "I … As the title implies, it is the 20th take of the song. “It was somewhat under her influence, I suppose,” Lennon stated in reference to Yoko Ono. Personally, I thought the track was interesting, but it seemed as though it was as much Yoko's as it was John's. George and I just talked for about twenty minutes. I remember once saying to John that I was going to do an album called 'Paul McCartney Goes Too Far.' Revolution is a pretty self-explanatory choice: It was one of those Beatles songs that were solely created to pioneer the sound of heavy metal of the 70s. The French Revolution Q1. By 8 pm, this session was complete for the day. This release, which sounded superior to to all previous British and American pressings, was packaged in a non-embossed unnumbered cover that did not include the usual poster/lyric sheet or individual Beatles portraits as contained in standard releases. The next day, June 11th, 1968, with George and Ringo still out of the country, both John and Paul assembled in EMI Studios for more work on what became the “White Album.” The session began at 6:30 pm in EMI Studio Two with Paul on acoustic guitar, with his new girlfriend Francie Schwartz sitting off to his side, rehearsing his new song “Blackbird” while John gave arrangement suggestions that appeared to be ignored. “A close study of the four-track tape reveals the loops and effects to include: George Martin saying 'Geoff...put the red light on,' heavily echoed and played repeatedly. During this sequencing session, however, a decision was made to infuse a quiet introduction to “Revolution 9.” An interesting recording of a conversation between George Martin and Apple office manager Alistair Taylor was added to the track, this being chosen as the opening segment to the entire recording. Chapter 1 – The French Revolution – 9. "No. '...It was just John and a rather unenthusiastic George Harrison working on the track. The same was done for “Revolution 9,” this mixing session coming to a conclusion by 8 pm. '” Geoff Emerick writes: “When they were sequencing the 'White Album,' I heard through the grapevine that John and Paul ultimately had a huge row over 'Revolution 9.' In 1968, with avant-garde artist Yoko Ono by his side, Lennon decided to up the ante and create what he considered the ultimate experiment in random electronic sound; namely “Revolution 9.” Just as we had done when we mixed 'Tomorrow Never Knows' two years previously, every tape machine in the facility was required for the playback of tape loops, with every available maintenance engineer once again standing around in his white coat holding pencils in place. I would calculate and think, 'No, I'd better do 'Hey Jude,' you know." These “little symphonies” (as they are referred to in McCartney's book “Many Years From Now”) were the primary catalyst for Paul's studio ideas used on “Tomorrow Never Knows” from The Beatles' “Revolver” album, which was the first time The Beatles used tape loops on a recording. There was a “Revolution 9 Take 20” that topped ten minutes and ended with six minutes of pure chaos. An 11-minute rough mix of ‘Revolution 1’ leaked online in February 2009. John's football drawing mentioned above appears on the front cover of his 1974 album "Walls And Bridges.” John elaborated further on the personal significance of this number. Press J to jump to the feed. I've just captured a moment of time and put it on disc. These include John's repeated shouting of the words “Right” and “Alright” along with his vocal shenanigans during his initial lead vocal performance on May 31st, 1968. It appears that The Beatles would draw from any and every musical inspiration that would come their way. “Ringo and I compiled that,” George explains. "Well, the slow version of 'Revolution' on the album went on and on and on," John related in his Playboy interview from 1980, his song reference here regarding "Revolution 1" as heard on the "White Album." Ringo and George Harrison had nothing to say about the track at all. Nonetheless, “Revolution 9” has become the most widely known example of musique concrete in the history of recorded sound. “Well, do it next time,” George instructs. Alright, a little bit of insight into this song since there is a lot of confusion. The "Hey Jude" / "Revolution" single was issued on 26 August 1968 in the US, with the UK release taking place on 30 August. At the end of their long overdub, still whispering, John said to George, 'We'd better listen to it then, hadn't we?'" I lived at 9 Newcastle Road. A decision was made to edit the previously made stereo master from 9:05 to 8:15, reducing the length to a good degree but still managing to be the longest Beatles track in their released catalog. 1. After the fading work was done, Lennon decided to isolate his voice saying “Take this, brother, may it serve you well,” editing this directly into the final section of “Revolution 1” with Yoko's pre-recorded tape to the fore along with John's muttering and Paul's piano doodling. The musical/sound collage is a masterpiece in itself where John Lennon was trying to paint a picture of a revolution using only sounds. It was adapted from Revolution 1 (John Lennon and Paul McCartney). Entirely composed of random voices, songs and snippets of noise, it was a creation made solely by John Lennon and Yoko Ono, with George Harrison assisting at times; The other band members and George Martin hated it.. Lennon said it represented an image he tried to paint of revolution. “Will you forgive me?” Alistair asks. Today, in the first of a two part episode, we look at how Revolution 1 gave birth to Revolution 9, and discover the mesmerizing missing link between the two. This led to Stockhausen's face being among the crowd on the front cover of their “Sgt. Neither The Beatles nor any of the individual Beatles have ever attempted to perform “Revolution 9” on any stage, since it would be impossible to do so. Karlheinz Stockhausen was a German avant-garde composer who did much in spearheading the use of recordings comprised of aleatory (controlled chance) sounds, described by many as “musique concrete.” Paul, and then John, became enamored with his work, which began to quench their thirst for being as creative in the recording studio as possible. Therefore, a remastered version of the original 1968 stereo mix was included in the various 50th Anniversary releases of November, 2018. John and George were the only Beatles present on this day and, after an hour break from the end of the first session, they returned for their second session at 10 pm that evening. In the end, of course, he got his way." Nine seems to be my number so I've stuck with it, and it's the highest number in the universe, after that you go back to one...It's just a number that follows me around, but numerologically, apparently I'm a number six or a three or something, but it's all part of nine." On the third day of recording "Revolution 1," two tape loops were made with the intention of periodically feeding them 'live' into the mix of this ten minute version of the song, the first tape loop consisting of The Beatles vocal overdubbing "aaaah," and the second being a high A note being played rapidly on an electric guitar. This having been done, as well as creating yet another stereo mix of “Revolution 1,” a tape copy of “Revolution 9” was made for John's listening pleasure. The track clocked in at 9:05, the longest Beatles track ever. Occasionally one of the loops would break and they'd have to get on the phone and let us know, which, of course, annoyed John no end.” The other six were labeled as follows: “Vicars Poems,” “Queen's Mess,” “Come Dancing Combo,” "Organ Last Will Test," “Neville Club,” “Theatre Outing” and “Applause/TV Jingle.” Note must be taken, though, that not all of these sound effects were necessarily used for “Revolution 9” since some of these became part of the stage adaptation of Lennon's book “In His Own Write,” the London premier of which was at the Old Vic theatre in London on June 18th, 1968, directed by actor/friend Victor Spinetti. IF YOU WOULD LIKE TO MAKE A DONATION TO KEEP THIS WEBSITE UP AND RUNNING, PLEASE CLICK BELOW. Author and historian Mark Lewisohn, in preparation for writing his book “The Beatles Recording Sessions,” was treated to the experience of actually hearing the source tapes for all of the Beatles recording sessions including this track. However, the vinyl album did finally get an individual mono vinyl album release in America on September 9th, 2014, while a new stereo mix of the album was released on vinyl on November 9th, 2018 to celebrate its 50th Anniversary. "Revolution No. He reveals the following from what he observed: (as "Revolution #9.5"), The Shazam, Alexei Borisov and Ian Cussick, Heiko Effertz & Max Cohen. This was improved upon, though, on August 26th, 1968, by the same engineering team to ready it for release on the mono pressings of the album. One final process was needed before the final release of the “White Album” was prepared, and that was the track selection and final sequencing of the album. I was born on 9th October. Fill in the blanks. Abstract sound collage (titled "Revolution 9") that originated as the latter part of "Revolution 1" and appears on the same album; and the faster, hard rock version similar to "Revolution 1", released as the B-side of the "Hey Jude" single. Dividing audiences since late 1968, John Lennon’s sound collage ‘Revolution 9’ was an exercise in musique concrète influenced heavily by Yoko Ono and the avant-garde art world.. It has the basic rhythm of the original 'Revolution' going on with some twenty loops we put on, things from the archives of EMI." 1" carries the message more easily and more successfully. While the majority of what made up “Revolution 9” consisted of tape loops, certain elements of the underlying last six minutes of the original ten minute version of “Revolution 1” did surface on the finished product. “Once I heard her stuff – not just the screeching and the howling but her sort of word pieces and talking and breathing and all this strange stuff, I thought, 'My God.' 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