FIRST listen to Revolver & Analysis - French Horn? Why not?
Вставка
- Опубліковано 14 чер 2024
- Listen to my MUSIC!
• MUSIC by CAZZA
/ sweetcaroline_93
open.spotify.com/artist/4LEn4...
Follow me on:
/ cazzamusicofficial
/ cazzamusicofficial
/ cazza_music
55 years on, Tomorrow Never Knows still sounds like the future.
I always think ' twin peaks'
It was 30 years ahead of it's time.
Certainly a future stage in our lives - unless we're enlightened already (few are).
You should really check out the shoegaze genre which was inspired by that song.
GREAT!!!!! Comment!!!
If Tomorrow Never Knows sounds new to your ears imagine the people in 1966 listening to it just a couple of years after She Loves You. It scared me when I first heard it (I was eight when it was first released). Now in my sixties and after hearing it hundreds of times it is one of my favorite Beatle tracks. They never played it live because once it was recorded you couldn't duplicate the loops on the faders. It still sounds like it could have been released last week.
Exactly. I LOVE "Tomorrow Never Knows". I read the Egyptian Book of The Dead , which inspired it. One of the strangest books I ever read. I went to an occult book shop in Evanston for it.
Wait til she gets to Pepper. Hopefully shell do the mono
There is a VERY long Wikipedia page about Tomorrow Never Knows. One of the most influential songs in the entire history of rock and roll. The tape loops are literally the origin of sampling in modern music, just to give you an idea. The tape loops were Paul's doing. For all of the boomer men who insist John was the innovator, well, no.
They never played it live because they no longer gave performances by the time this was released in '66-- and it would be to difficult to replicate the tapes played backwards.
This was perfectly conveyed on MAD MEN, Don Draper listening to this. (The producers paid a fortune to use it!) This signalled the arrival of a new sort of consciousness in the 60's. People were looking inward.
When I first heard Lennon's "She Said She Said" as a young teen in the 90s something suddenly opened on my musical horizon. IMO this album contains some of John Lennon's finest musical moments of his career
Definitely agree that this is a milestone for Lennon, which is funny because people tend to see Revolver as a McCartney driven album. I get that Eleanor Rigby, Yellow Sub, Here There Everywhere are great and innovative tracks but to me the Lennon and Harrison tracks ultimately have more lasting appeal in the long run.
@@Gabe7Gal yes, even at this stage you can hear McCartney slipping into crooner role while Lennon and Harrison are experimenting hard and going moody
Revolver is often considered the most revolutionary album ever. It really changed the musical world. There was nothing like this before...
But wouldn't you say sgt peppers was their most influential?
@@mr.dirtydan3338 Sgt Pepper was certainly their most influential album but Revolver was more innovative really. Pepper ultimately doesn't do a whole lot of new things that Revolver didn't already do, like the whole strings and brass production stuff. Meanwhile Revolver is the first time we hear a lot of things like the tape loops, backwards guitars, classical indian genre, the trance genre, children's songs, a lot of cutting edge lyrics, etc.
Finally watching a premier of Carolines Beatles experience and couldn't be a better album that changed musical history...
0:01 Intro
0:28 Taxman
3:45 Eleanor Rigby
7:48 I'm Only Sleeping
11:02 Love You To (not Too lol 😆)
14:26 Here, There and Everywhere
19:05 Yellow Submarine
22:21 She Said She Said
26:10 Good Day Sunshine
29:00 And Your Bird Can Sing
32:06 For No One
35:03 Dr. Robert
38:08 I Want To Tell You
40:33 Got To Get You Into My Life
43:58 Tomorrow Never Knows
46:30 Final thoughts
Thanks. The captions don't always work.
Love You To is a typo that never got changed. It's supposed to be Love You Too
@@jk4675 I don’t think it was ever supposed to be “too”, no. They wouldn’t slip a typo like that. One can only guess what the phrase means. My guess is that since the song ends with the line “I’ll make love to you, if you want me to”, the title is implying the reply “(I’d) love you to”.
@@Nerkin610 an intentional pun or play on words, perhaps?
@@clydekimsey7503 A pun for sure! Very much in line with the band to do that :-)
My favorite album by the Beatles.
I'm Only Sleeping is my all-time favorite song. George's backwards guitar solo is genius.
perfect balance between the three songwriters, 5-5-3. sgt pepper is too paul-centric, imo
Love that song. My favorite of that album
@@mikeziegler4785 Agreed.
It’s eerie but pulls you in
Agreed
Yellow Submarine was deliberately written as a children's song - to be sung by children in playgrounds and school assemblies everywhere. Their lack of pretentiousness is astounding. This song should never be ridiculed, children for decades have been singing and enjoying it - for many their first listen to The Beatles. I went to John Lennons infant school and I can still remember our head teacher playing this on the piano one assembly and explaining to us that the man who wrote was a very kind man and sat in the very place we where sitting, next to her piano. I still get a bit of a lump in my throat thinking about it ♥️
Here, There and Everywhere was one of the most beautiful songs Paul ever wrote.
Key change for the bridge.
It's not actually a key change! it's minor to major, one of McCartney's signatures. HT&E was John's favorite song by Paul.
@@loosilu Actually, even though the G Major of the verses is now a G minor in the bridge, the bridge itself is in the key of Bb Major. Then, at the end, a C minor and D7 bring it back to G Major for the next verse. Senor Know It All (or at least this much :-> )
Paul ( amazingly ) has at least three classic songs of his on "Revolver" - "Eleanor Rigby", "Here There And Everywhere" and "For No One".
And his jazzy sounding "Got To Get You Into My Life" is so good too.
@@gribwitch Close to his best three songs IMO.
@@loosilu it is a key change. G and Bflat is clearly a different key. notice john also does a bit of key change in im only sleeping by modulating E from F#. I think that was quite clever as well. key change that beatles used always came back to the root key in a certain clever modulation. Not like crappy key changes nowadays which are used only for raising tension. in here there everywhere, paul uses D7 to come back to G major, and in im only sleeping, john uses E flat to go back to F#
It's like listening to the Beatles with a good friend who never heard them before and the enthusiasm is getting you excited and you're kind of hearing it for the first time again because you are witnessing the enjoyment and discovery of the other person. It takes you back to the times when you first heard it. I don't know what I'm saying anymore, but that was fun on a Friday night with a bottle of wine :) Thanks!
I had the same feeling. I was going through UA-cam and found Call Me Caroline, and she was so enthusiastic about learning about The Beatles, it made me realize once again how much I LOVE The Beatles, from Please Please Me to "Free as a Bird" and "Real Love".
Same, same! Watching her reaction vids & her enthusiasm has renewed my Beatlemania (not that it was ever gone, just subdued).
Also, when she says “I THINK I MAY have heard this song before” I have to laugh. 😆
I feel the same :)
Exactly so.
"She Said, She Said" is based on Peter Fonda's acid-trip ramblings at a party John attended. Fonda kept saying, "I know what it's like to be dead." And "Doctor Robert" is about a London doctor who connected famous clients with drugs. "Got to Get You Into My Life" is Paul's ode to marijuana.
Interesting very interesting. And the only song that John reward Paul for making it is here there and everywhere
Steve Turner's book Beatles '66; the revolutionary year reassesses a lot of the mythology. He has GTGYIML as being a paean to LSD
@@rafailkarampetsos6914 John liked “For No One” very much as well.
It's actually quoting Jane Fonda at the same party with Peter...
I wish i didn't know that about Paul's song to Marijuana. It can mean other things (I'm decidind :)).
Hearing Paul McCartney sing Got to Get You into My Life live this summer was a highlight of my life. Macca still puts on a great show at 80 years old.
Yes I'm not one for celebrities, but Macca is the one I would love to meet and chat with. I would have so many questions...
I caught Macca show @ Giants Stadium in June 1993. He & his band did more than give me my moneys' worth.
For No One is one of those McCartney songs that, even though I've heard it a million times, can still stop me in my track sometimes and again overwhelm me by the sheer perfection of it. The emotion, his voice, the horn and then the 'unfinished' musical ending that reinforces the sentiment expressed in the words. It's just a brilliant song.
Dude I totally agree. Incredible song... I bet most musicians that hear that song for the first time say to themselves "I wish I wrote that!"
Yup. It's perfect. In every particular. All that in under two minutes but ending with that open cadence to leave you feeling unsettled.
"For No One" is probably one of their most underrated songs. Just a beautiful song that I never get tired of hearing.
Incredibly depressing, deeply well written, strikingly simple. Makes this grown man cry every time I hear it... the French Horn is so powerful.
For no one is probably my favourite McCartney ballad. Ineffably sad lyric.
On Taxman: "Mr. Wilson" and "Mr. Heath" were the leaders of the two major British political parties at the time.
And eventual Prime Ministers, right?
@@phila3884 Mr Wilson was the Prime Minister at the time and Mr Heath was the leader of the opposition and became the Prime Minister in 1970
Tomorrow Never Knows is incredible.
It has sounded ahead of its time for almost 60 years.
All rave music, all electronica, all of it starts with Tomorrow Never Knows
That song is trash wth is going on in this song bruh no way people find it sonically good
@@shayaanrk Ah, at last, a musical genius. Well done!
My third video watching from you, and with "Here, There and Everywhere," it finally clicked why I already love your videos: You make a real effort to explain the technical side of music (which, by the way, you're extremely good at), but your facial expressions as an indicator that you've just heard something that you find fascinating or beautiful are wonderful to watch. Ultimately, it's the emotions that music triggers that make it so incredibly powerful, and you reflect them perfectly.
A real masterpiece of an album.
A great piece of Dali-sh Art work it is a mind opening musical experience and the first of its kind thats what puts it in the highest interlectual musical feet ever! Hurray! For Revolver 💎 by 4 🪲🪲🪲🪲insects and an apple 🍏 lol😅 🎉🎉🎉❤ love TheBeatles.
From this album-on, you're going to be blown away. The Beatles have reached their stride with Revolver and they just keep reaching higher and higher.
I've been a Beatles can since 1964. I must say that listening to them with Caroline makes them brand new. She has extensive musical knowledge and a very good ear. Of course it doesn't hurt that's she is gorgeous.
The Beatles pioneered so many things on this album (ADT, vocals through a Leslie speaker, tape loops, backwards instruments, psychedelia, etc.). The recording techniques were revolutionary also, thanks to young EMI engineer Geoff Emerick. The way he mic’d the strings on Eleanor Rigby and the drums on Tomorrow Never Knows are part of the reason the album still sounds amazing now.
The Leslie,which Badfinger used on "No matter what"Which elevated that song!
Geoff Emerick doesn’t nearly get an enough credit for his efforts and innovation
Lyrics of Elanor Rigby were indeed different. Alan Ginsberg, famous beat poet and friend of the Beatles, told McCartney "That Eleanor Rigby song is a helluva poem." Might also want to point out that this was such a stark departure form the "I love you, you love me' songs they had mostly done up to this point, as this song spoke of loneliness, isolation, mortality, etc.
I always loved Ringo's contribution with "Darning his socks in the night when there's nobody there". And I also read somewhere that George was the one that came up with "Ah, look at all the lonely people" part.
I've heard this album a thousand times and I'm weirdly envious that you get to hear it for the first time. Thanks, Caroline. 🙂👍
Thanks for watching!
Same here!
@@CallMeCaroline On upcoming albums you should listen to remixes of deluxe editions. These remixes are made by Giles Martin, son of George Martin who was the producer of the Beatles. They have much better sound quality than the 2009 remastered versions.
I know, me too! But through her ears it's like hearing it for the first time again (well, as close as I'll get).
Thanks, Caroline, indeed!
but like listening for the first time as a grown up instead of a kid listening on a transistor radio riding his bike around the neighborhood. it's lovely to hear it more complete and understood.
This album is one of the greatest artistic creations of humanity. Truly inspired.
The album help! was released the 6th of august 1965, Rubber Soul was released 3rd december 1965. Revolver was released 5th August 1966. 3 albums with such quality with in a year. It's kinda nuts they did all they did as the beatles, before they were 30 years old.
In fact Before they were 25 years old! That's amazing! Wonderful!!
Yes, incredible
Yes, and they had such a supportive and brilliant producer (George Martin bless his soul), who would play if he had to 😀.
Thanks for this info. I thought I knew these three albums very well, knowing every song in them having listened to them for years. Just didn't notice they were released within one year's time. Wow, three great great albums in just one year from arguably the greatest band in the world.
Breathtaking genius.
This album was a sonic departure for The Beatles with new young engineer Geoff Emerick at the controls. Emerick was a bit of a maverick who wasn't afraid to try new things and really push the equipment beyond the limits of how it was designed to be used. This often resulted in achieving new sounds never before heard on records, but also got him into plenty of trouble with the EMI Brass once they got wind of the kinds of things he was doing. Ultimately, the record sales spoke for themselves and Emerick was allowed to continue his unorthodox techniques and experimenting, but only for Beatles sessions, as long as he didn't damage anything. Emerick pioneered methods that are now commonplace in recording studios up to this very day.
So true. TNK would never be what it is without him. And the session they did that was very early and it was Emerick's first as chief engineer. He was 19!
Thanks for recognizing the other people that were instrumental in the collaboration that produced the amazing music of The Beatles.
I am inspired with Geoff's creativity & experimental way of working👍😊
Thank you so much for your patience on this video. I hope it was enjoyable for you! Which songs are your personal favourites from this album? I think mine was an upbeat one…so unusual of me haha
EDIT:
I mention in the video about sampling, apologies I must be using the wrong term there. In my mind I was meaning a sample of a sound they had recorded. Apologies for that.
Glad you finally got it done, can't wait to watch it. in 14 minutes.
I like pretty much every song on this album, but my absolute favorites are Paul's Here, There, and Everywhere, and For No One. To me, these two work like opposites on both sides of Revolver. One is a beautiful love ballad, while the other is a tune about a break-up. I also really love John's I'm Only Sleeping, And Your Bird Can Sing (featuring two lead guitars played by George and Paul on their Epiphone Casinos), Dr. Robert, Tomorrow Never Knows, as well as George's three songs: Taxman (Probably my favorite Paul McCartney guitar solo), Love You To, and I Want to Tell You. Not to mention the single Yellow Submarine/Eleanor Rigby, which features excellent lead vocals from Ringo for YS and three-way harmonies from John, Paul, and George for ER.
I've already smashed the Like button! I'm going to guess that your favorite (based on the clue) is "Got To Get You Into My Life". My favorite song - in fact, my all-time favorite Beatle song - is "She Said, She Said". LOVE YA, CAROLINE! Thank you, Sister of Melody!
And Your Bird Can Sing and She Said She Said are my fav from this album. I'm Only Sleeping,very close.
I would have bet it would be Here There and Everywhere, but now I'm thinking Got to Get You into My Life
I am a geezer, and it is great fun to go through this album along with you. It sounds new again.
The Beatles were wonderful, and in those days, they were a cultural phenomenon in a way that the modern world probably can no longer produce. I am glad they were the sound track for much of my life.
Fellow geezer here too! We had the greatest music growing up in the 1906s and 1970s, didn't we? :)
Me too!
Fun fact: Got To Get You Into My Life was McCartney's love song to marijuana. He is quoted as saying that the lyrics were, "an ode to pot, like someone else might write an ode to chocolate or a good claret." The man was never shy about his love of pot, for sure.
I believe it was about LSD
It's pot. That was a direct Paul quote. Lucy In The Sky With Diamonds is the one that was (or wasn't, if you ask a Beatle) about an LSD acid trip. Marijuana is the one drug that kept Paul in trouble throughout his career...I assume he doesn't smoke it anymore, or maybe he just stopped getting caught. 😂 ✌☮
@@elishaodum7638 Paul in a recent interview said he quit smoking pot some years ago...
@@danebattaglia75Doctor Robert is about LSD. The dentist who slipped them acid for the first time, spiking their coffee.
Yes, it is a love song to marijuana. As Let Me Roll It is like a more groovy song about it
A little bit amazing that Tomorrow Never Knows sounds new to someone in 2021. I think it says a lot about how innovative it really was in 1966 and still is.
"For No One" is such a mature song from Paul, who was just 24 when he wrote it. The subject matter is incredibly wise beyond his years at the time. Indeed, he has mentioned this song recently as one he's exceedingly proud of, insofar as it confirms he was (on his day) as good a lyricist as John was.
Do you know where he talks about it? I would like to see that
Up there with his best for sure.
It my opinion, it is the most poignant break up song ever written. What is worse than an ex who hates you is an ex for whom you mean absolutely nothing, as if you don't even exist.
@@ewest14 Not sure if he talks about "For No One" or not but he's just done a Lyrics doco where he talks about the influences behind the lyrics of many of his songs including Got to Get You Into My Life and Eleanor Rigby.
I pedantically point out the song was written in March 1966, recorded in May, making Paul only 23.
I remember hearing Tomorrow Never Knows in a movie not knowing it was by the Beatles (I’m 22, so pretty young) and then I heard it on the radio, surprised that when the presenter said that this song is by the Beatles. I told my sister in excitement and she was absolutely baffled that it’s a Beatles song. Rubber Soul, Revolver and Sgt. Pepper are an absolute faves of mine.
@@redlightflash9315 it was a cover in the craft film from 1996, the radio show was a playlist on bbc made by beabadoobee, a musician from the uk
Eleanor Rigby. One of the Beatles most complete and beautiful pieces. This one, for sure, will stand the test of time.
That’s one of those songs where the first time I heard it I kept thinking about it afterward.
For me, "Tomorrow Never Knows" is the jewel in the crown on this album
It's one of the crown jewels of pop and rock.
Jewel in the crown of The Beatles.
Can't imagine any song more experimental this at the time. Still is amazing.
"...For me, "Tomorrow Never Knows" is the jewel in the crown on this album...".
Yes it's a groundbreaking song alright. But in my view Paul's wonderful contributions outshone John's solitary major track on "Revolver".
They both bounced off each other with ideas during this time, and this friendly "competition" proved spectacularly creative and beautiful for the listener.
@@gribwitch Of course, without Pauls contribution to this album it would not be the great album it is
When I went to Germany in highschool, we went to a Biergarten where a myriad of great German beer drinking songs were played. The place was electric. Suddenly the band fires up the unmistakable notes of Yellow Submarine. The whole crowd raucously sang it and it blew the roof off the place. The Beatles are incredible.
What is fun about Caroline's reactions to the songs is that she probably only had a passing familiarity with the Beatles music originally, but can breakdown what is interesting, unique or innovative musically. She, with her obvious musical training, enthusiasm & expertise can comment on musical notes & chords, the instruments used, the lyrics, transitions, moods to tell us what she thinks is special about the music and that reminds us why we fell in love with the Beatles music to begin with.
"Got to get you into my life" was covered so many times that I didn't know they wrote it. When I heard the Beatles version I thought "I didn't know they covered songs in their later work". There are over 100 cover versions listed online.
All in service to the song; could be their motto. John once said "Ringo was the best friend a song ever had." There's a really cool UA-cam by a young Scandinavian drummer girl about what a great drummer Ringo is, demonstrating how many songs you can recognize just by the drum pattern; consider how rare that is. And the way George's solos just drip off the chords, nothing super flashy, but incredibly apt and moving the vibe along...and of course "And Your Bird Can Sing", which is just badass guitar melody playing. And cosmic bass playing by Paul, too.
"She said She said" is famously about John tripping at a party in LA and being hassled by Peter Fonda saying "I know what it is to be dead".
That drummer girl is Sina Doering is actually German and her father played George Harrison in a Beatles cover band...link link.
i second that emotion (love the lennon quote). there's a clip somewhere of dave grohl playing the simple floor tom beat of "come together" and saying "who would've thought that just *this* would be what the song needed to make it dance" (or words to that effect).
"Rubber Soul" has three songs that have nothing to do with love or relationships; "Revolver" has eight. The two albums are rightly considered the "middle period" of the band, but the progression between the two albums is plain to hear. They were advancing so rapidly, it was astonishing to experience it in real time.
There's "Nowhere Man" and "The Word". What's the third one?
@@nealfig I think it's Nowhere Man, Think For Yourself, and In My Life, although it might be The Word, even though it's about love.
The Word is about love. The three songs are: Nowhere Man, Think for Yourself & In My Life
@@jk4675 "In My Life" ends with 'In my life I love you more'. "Think for Yourself" might be about a relationship, ending with 'Think for yourself 'cause I won't be there with you'. "The Word" is not necessarily about romantic love but a greater love.
@@gavinmitchell1328 "In My Life" ends with 'In my life I love you more'. "Think for Yourself" might be about a relationship, ending with 'Think for yourself 'cause I won't be there with you'. I've always thought "The Word" was about more than romantic love but a greater love, foreshadowing "All You Need Is Love".
McCartney's work on Revolver was absolute outstanding. Eleanor Rigby, all about loneliness. For No One, an incredibly perceptive description of a relationship gone stale. His incredible, Indian flavoured guitar work on Taxman, all designed to give Harrison space to keep learning sitar. Additionally, there was Harrison's continuation of his Indian themes in Love You To and his praise of the acid experience in I want to Tell You. Then there was Lennon's description of his current state of mind in I'm only Sleeping and Tomorrow Never Knows as well as recounting his earlier encounter with Peter Fonda in She Said She Said. An incredibly strong album, arguably their best, with almost no flaws.
Love Revolver. Also love Sgt. Peppers, The White Album, and Let it be has some great songs on it too, particularly in its Naked iteration.
All are varied, musicaly intriguing, and yet catchy addictive and almost endlessly listenable to. How on earth did we get this magical concurrence of symbiotic talents.
God, forgot Abbey Road in my list. The album that marked out my early teenage years. How could I? Dolt.
Yep, Revolver is pretty awesome! Arguably the best work where they’re all on the same page. I just have a very soft spot in my heart for Sgt. Pepper’s, I love every song on that album with my entire being
@@thesilvershining Agree - Revolver's my favourite but what's not to love about Sgt Pepper's?
@Thet I must admit this wasn't an original observation but something I read some years ago in a book that analysed Revolver. The story was that George was busy learning the sitar while at the same time the Beatles were evolving into a much harder sounding band, especially on guitar. Because there were some relatively complex solos on Revolver and because the Beatles really were good mates at the time, Paul offered to take on the more of the guitar work on the album (but not all of it) to give George more space with his sitar learning process. One of Paul's contributions was that searing solo on Taxman, something incidentally that was reused in some sort of slowed down reverse loop on I'm Only Sleeping. Just two elements in the many things that went to make Revolver such a great album. Cheers.
I get the impression Caroline doesn't really know what to make of Revolver 😂. It's breadth is astonishing - every song is different yet the album is totally coherent and an absolute masterpiece. There's too much happening on it to truly appreciate it on a first listen. It's true genius, like The White Album, reveals itself over repeated listens.
I think Revolver is one of the greatest albums ever made. It is the Beatles at the height of their creative power.
@@westhamdd84 I know, it seems like it shouldn't be able to exist in this world.
She seems a little above the material. Musicians eh? It's only one of the greatest albums ever made .She should be privileged. Just enjoy it ffs!
Johnny is an obvious idiot - if she just sat there in silence there wouldn't be a video. Our Johnny is making an absolute fool of himself with his absurd sense of superiority.
I think Caroline is absolutely going to love “She’s Leaving Home” off of Sgt. Pepper
Without a doubt.
Hope so, but she didn't seem so enthusiastic about Eleanor Rigby. . . .
Worst recording the Beatles ever made, with the possible exception of "You Know My Name (Look Up the Number)." Maudlin, cloyingly sentimental, the best example of what John called "Paul's granny-music shit."
@@scottfrench4139 what’s that strange sound comin from oh it’s the sound of you talkin outta your ass
@@scottfrench4139 touches that deeply hey
Please do lots of analysis of harmonies, etc later, Caroline. I've listened to these songs since they were new and hearing you talk about them in detail helps me know more about why I love them :)
Notice the Major7 harmony on the word, "sleeping" ("I'm Only Sleeping")
Really nice analysis. It’s a great album.
McCartney has said Here, There, and Everywhere is his favourite song. And Lennon absolutely loved it too.
Apparently, it's the only song Lennon ever directly and clearly complimented him on. Apparently, just as they finished recording it, Lennon said to McCartney, "That's a really good song, lad. I love that."
@@robertelessar He also praised Hey Jude. And he felt it was about him and yoko.
@@curtb9567 You know, I think I remember that. And at the time, he told Paul to leave the line "the movement you need is on your shoulder," adding that he knew exactly what Paul meant. But I'm not sure he complimented Paul to his face on that, though he said--I think--it was one of his favorite McCartney songs, definitely.
And you bird can sing. Total brilliance
Where we're going, we don't need genres.
I can really see the McCartney fangirl starting to come out in you, even if you don't see it yet. We've covered 4 years so far, and got 4 more to go. Buckle up. :)
I believe I see that happening too - and if that's the case, then she has 51 MORE years of Macca music to discover.
Paul fangirls rock :D
Yes, Macca fan here, but more and more I see the continuous edge that kept the Beatles as a global phenomenon that John brought with his sound. Tomorrow never knows is an example of that. All four lads comprised an unforgetable and magical tour de force!
@@Bipbop66 paul is as responsible for tommorow never knows as John
@@flyingkillerrobots877 mind blowing, right?! 😄
Raise your hand if you thought Caroline’s favorite song from Revolver would be “Here, There, and Everywhere.” It’s certainly my favorite McCartney ballad of all time.
Hand well & truly raised!!
If she doesn't choose that then it's got to be For No One surely.
@ jayburdification Yes, For No One and The Long and Winding Road!
"What is it about a piano in the low register that sounds funny?"
Man, I love your comments like this. Really getting into strange sound associations and how the tiniest things can have a certain mood or atmosphere to them. Great stuff.
Don't be afraid to say if you don't like a Beatles song Caroline. If others `have a go` because you don't honestly like a song which is a favourite of theirs; it says more about them. Never be afraid to air your opinions. Regarding performances of songs from `Revolver` the Band never played any as they would not have been able to do justice to them `live` back then. The Beatles played their final concert to a paying audience on 29th August 1966 at San Francisco's `Candlestick Park` . And finally, did you know that there was once a Radio `Caroline` pop station which broadcast to the U.K from 1964 to 1968? It had a record in its `honour` "Caroline" by the `Fortunes`.
Radio Caroline still exists, it didn't end in 1968, and broadcasts on the net and AM waveband. It's named after JFK's daughter. First album station in the UK.
For these albums really suck though
They wrote so many songs, there is enough to find to like and dislike.
Personally I'm not a fan of their early period. To me they only achieved immortality after they stopped touring and wrote their music only for record instead with live performability in mind.
Never liked Taxman or Dr. Roberts. Lots of early stuff was just filler, especially their covers, with some exceptions. Most of Magical Mystery Tour irritates me.
@@stevend.bennett427 Agree to disagree
"Tomorrow Never Knows" is literally like receiving a broadcast from an alien civilization from deep space.
It makes you wonder what else you are going to hear from these wondrous beings.
It amazes me to think this is only 3 years after their debut album. This is their 7th album it’s just crazy how they are evolving artistically and musically and they were so young. George was 23, Paul 24, Ringo and John 25. 🤯
John and Ringo were born in 1940. They are two years older than Paul and three older than George.
@@braemtes23 but john’s birthday is in october and revolver was released on august so, do the math my friend
@@braemtes23 ringo was 26
@@nicolasjorgesorabilla6413 The Release date is irrelevant. It is the recording dates that matter and they recorded it between April 6 and June 22 of 1966. Paul's birthday is June 18, so he was 23 for all but 4 days of the recording of Revolver. I did do the math.
@@nicolasjorgesorabilla6413 Nitpicking much , Nicolas ?
The last sound your hear on "And Your Bird Can Sing" is Paul's bass. Kinda surprised you didn't mention his bass playing, in general, because it's quite spectacular.
McCa bass playing deserves its own video. That man is really the Mozart of our days... Awesome
@OhDannyBoyThePipes Paul is one of the greatest songwriters/composers of all time, and he didn't have a lot of formal music theory either(some, but not a lot).
26:12 Sunshiiine always reminds me of Oasis.
That look on your face at 44:43 during "Tomorrow Never Knows" is priceless. I think you might be able to make a living just on your amazing facial expressions.
Caroline says: "For me, personally, it's a lot." Just think how the listeners back in the summer of 1966 felt when they heard it the first time. This track gave Beatles fans a glimpse of what was to come in 1967...
Yes Caroline I'd love to hear you analyse the harmonies etc!
Yes, that would be great.
I second the request. Yes please!
I third the request. Beatles harmonies are magical and I'd like to know more.
Yes please!
What on earth is she going to do with the white album and the second side of Abbey Road?!
You could not imagine how mind-blowing this whole album (and especially Tomorrow Never Knows) was to a 8-year old boy in 1966. Suddenly a whole new world of musical possibilities blows open and nothing is ever the same.
I turned 8 one month after it came out, I got the album as a birthday present. In those days getting an album was a couple times a year gift.
I remembered seeing the Beatles on Ed Sullivan in February 64 when I was 5 and a **Little Kid** . Now I was 8 and much much more grown up.
Caroline, I want to thank you for providing the interpretive key I’ve wanted for years to “And Your Bird Can Sing.” I’ve always been baffled about how to understand them, and it was like someone finally opened the window.
It's a pleasure to sit with you while you experience this album for the first time. From the snarling rock of "Taxman", through the wide-eyed innocence of "Here There & Evetywhere", the Salvation Army singalong of "Yellow Submarine" and the chamber music of "Eleanor Rigby" and "For No One", right through to the psychedelic freakout of "Tomorrow Never Knows" - there's just so much scope in 35 minutes. No track on this album is more than 3 minutes long. It's astonishing, really.
Be aware that around this time, they’ve slowed down the pace of their releases and also startEd releasing singles before the albums. Revolver, for example, came out a couple of months after “Paperback Writer/Rain” which fed into the anticipation for the new album. They continued to use non-album singles to “tease” the unreleased next album for a good part of the rest of their career. I look forward to you reaction to “Rain”! And remember when you listen to it, that people had a couple of months to digest it before they got hit with “Revolver”. Keep up the great work!
Actually, I heard they did that because they didn't want to have their fans to pay twice for the same songs. Albums at that time were usually a couple of hit singles with some filler material to fully exploit the music commercially.
"Rain" really was a line in the sand - the "Mop Tops" who were finally (very artistically) waked and buried on the cover of Sgt. Pepper were giving way to an astonishingly mature artistic ensemble.
Along with Walrus, Strawberry, Penny Lane, etc. 😀
Rain! Maybe my favorite.
@@MartijnHover That's the truth.
I BELIEVE that I've heard that the "seagull" sounds in Tomorrow Never Knows is actually the sound of Paul McCartney laughing, sped up, and played backward. I've heard this and read it from different sources, so it's likely true.
Absolutely correct.
The "seagulls from hell" sound.
My wife to be bought me this album just after it was released. I still have her and the album, both still very special.
Well I'm glad you still have your wife lol
It such a joy watching you hear these songs for the first time Caroline, and your very wise and interesting analyses! A few things you may want to note. As we move deeper into the 60s (already beginning on this album), the lyrics are going to become far more surreal and waaaay less literal. It was the times. Also, you mentioned synth - of course, no one really used synths until a few years after this (the last album they recorded, Abbey Road, has a Moog). After you're done with these videos, you should definitely look into how they created songs like Tomorrow Never Knows, with only 4 track tape machines. It's beyond fascinating. The tape loops were run on multiple tape machines, each fed into a mixer channel. Each machine was running a repeating loop of tape held in place by pencils, fingers, etc. And each loop ran a different repeating sound- some off-speed, some backwards. The mixdown itself was literally a live performance, with multiple people bringing faders (repeating sounds) up and down, in and out. Pure serendipity - no two mixes were the same. Everything was done the hard way in those days! Thanks so much for these Caroline. They are delightful. For a lot of us old folks, this is like hearing old friends with fresh ears again. Checking out your music- you have serious ears! Best-
You have to imagine listening to this for the first time in 1966 - Paul singing about a spinster with classical instruments, George exploring his love of Indian sounds, Ringo singing about life on a Submarine, the horns on Got to Get You Into My Life, and John finishing it all off with a song about the Tibetan Book of the Dead. Amazing diversity! Only the Beatles could pull this off on a "pop record" and you can clearly see the experimentalism that leads to their next album, Sgt Peppers. My favorite John song on this album is She Said She Said and my favorite Paul song is For No One. Fantastic album!
Thank you acid!
Taxman's lead guitar was played by Paul. He really smokes on lead guitar, in addition to a great bass. Eleanor Rigby was new territory in pop music, because it was all strings, no pop rock guitars or drums, which no other pop artist ever tried. I'm Only Sleeping wasn't the first use of backwards effects, it was the vocals in the outro of Rain. John 'discovered' reversing the tape by accident when playing that song back at home. Also Revolver was the first use of 'artificial double tracking', which was the vocals put out of sync on the opposing audio channels. So they only needed to sing it once.
He is SO underrated as a lead guitarist.
John invented the backwards segments. Paul came up with the tape segments (which is the origin of modern day sampling). BOTH of them were innovators. I'm so sick of people saying it was all John. That was John's smear campaign.
Interesting that Paul played the lead guitar on the first song of side one, George played the bass on the last song of side 1
@@1monki Paul walked out when they were recording She Said She Said because George and John were pressuring him to drop acid and told him he couldn't understand the song unless he did
@@loosilu When recording Revolver, *all* of the Beatles had taken LSD, even Paul. Despite saying he took it in 1966 in his autobiography, witnesses[Browne's wife, for one] have pointed out Paul took it with Tara Browne at a party on December 13th 1965; the day after The Beatles' last British concert. Paul didn't take it with any of the other Beatles until the recording of Getting Better in March 1967, when John took it in the studio, supposedly by mistake.
John and George probably took it a lot *more* than Paul and Ringo. I mean, Paul taking it with John in 1967 would only have been Paul's second trip; *fifteen months* after the first. John said in retrospect he was eating LSD for breakfast around this time. Paul certainly wasn't.
@@EmileJoulbert They recorded Revolver before Paul took acid. He walked out of the She Said She Said sessions because George and John told him he couldn't comprehend it.
I was a 10 year old Beatle fan when this album came out and my friends and I loved it. Rubber Soul was a step up from their previous pop and rock and roll songs and this album was when they really blasted off with new ideas and sounds. It’s hard to believe this album was released three years after their first album (called Twist and Shout in Canada and Please Please Me elsewhere). Has any band or musician progressed so much and changed so often over 7 short years of recording?
Nope, no other band has done it! The Beatles were true geniuses.
No, they were so unique. Love them.
No
I agree, 66 years old now, the thing I noticed the MOST, we were in holiday in New York State going up north, and we pulled over on the side of the street, my mom always prepared sandwiches on trips, and on the radio came ,the Beatles 2 latest releases as singles Here they are Strawberry Fields nd Penny...I said to myself, wow This is a turning point, no more touring, no more coming over the pond to see Ed Sullivan or us, and not even an lp to define the change, just Strawberry Fields FOR EVER, wow I said, that is change, I was 11, my brother 16!
Exactly, me and my neighbors shared our allowance to buy the record. Then spent every night in our basements listening to every song, over and over again. We had a rule, no stopping a song until it was over.
Caroline, I so enjoy watching your analysis and reactions to Beatles music. For us who were in our early teens when Beatles music was new to the world we now get to see that same pure joy and wonder in your eyes and facial expressions....the same joy and wonder we all felt once upon a time....and still feel to this day. Thank you.
It's almost impossibile to tell what's Revolver's best song, we can only choose our favourite. And mine is Eleanor Rigby, actually my favourite Beatles' song since I first listened to it on the Red album. Its empathy never ceases to move me. I could write a paper on how it makes me feel.
It was a great arrangement work by George Martin
@@Jovolution Inspired by Bernard Herrmann's 'shrieking' arrangement for PSYCHO. George Martin said so himself.
Mine is I'm Only Sleeping
With only a few possible exceptions, Revolver is just one masterpiece after another. And the amazing thing is, that this is still not the most culturally important album The Beatles recorded. That one comes next.
Tomorrow Never Knows for me. But For No One and She Said She Said come close.
This album has everything. The Beatles are at their peak - head in the clouds but feet still firmly on the ground - and unlike later albums playing together like a group with one vision not four individual visions
Such a great album. I remember when I was 14. My sister came came home from a senior year graduation trip to Europe and brought with her a copy of the British version of Revolver. It quickly ended up in my small collection and has been a favorite ever since. I'm glad it's still bringing joy to the current younger generation. It's simply the best album the Beatles ever produced.
Eleanor Rigby is one of the most beautiful and bittersweet songs ever written. I've been obsessed with it since I was a kid.
I really enjoy this wonderful series, Caroline! The only thing you aren't doing -- and can't possibly do -- is hear them in the context of the Sixties. You must realize that the Beatles were innovators and many of the musical aspects you're picking up in your analysis -- which may be familiar today -- were being done for the first time in pop records. It's hard to overstate the impact and influence the Beatles had on popular music.
Well saidTOM
Not to mention the impact The Beatles had on art, fashion, politics, film...nearly any human cultural endeavor one can name. They may not have set out to do that, but do it they did.
I literally grew up with the Beatles music. I was 12 and living in New York when I first heard a Beatles Song, and every week or month thereafter, a new release was anticipated with excitement and awe since there was no way of knowing what was coming. That is something only those of us who experienced their evolution can feel. But the fact that their music can still provoke surprise, exhilaration, emotion and joy is a monument to their success.
Well put. You stated something that bothers me about a lot of reactors, without sounding like a condescending, pompous ass.
I’ve always considered Rubber Soul/Revolver the portal that transported and transformed the Early Beatles into the Sophisticated Beatles. You can hear the evolution.
I was 14 when Rubber Soul came out, the next year Revolver. I remember hearing them at the same time. Prior to this I thought of the Beatles as another British pop group, not impressed, had no clue as to the screaming and whatever I didn't get it. When I heard these albums I was hooked - they pulled me into Beatleworld and, while I never was infected by Beatlemania, but I understood everything they'd done before and they became, and continue to be, my favorite group. Best song writing duo since Schiller/Beethoven. I had to replace the LP because I wore the grooves down. It was a delight watching you listen, thanks. The sound kept dropping in and out, distressingly, but ... thanks.
Had an uncle who would have been 16 when this came out who echoed your feeling about early then later Beatles. As someone born just after they split up and came to be a fan ten years or so later, I can't see where any of their contemporaries could match early Beatles. John and Paul could each fart better hooks than just about every other band out there.
But I've come to appreciate that I never had the experience where The Beatles were a band for girls. I can imagine that tainting my opinion of them.
You were as old as i am now when one of the 5 greatest albums ever was released, wow.
Schiller/Beethoven. "Song writing duo". Ha ha ha ha ha ha ha ha ha ha!
So many great songs on this album. My favourite is 'And your bird can sing' - just want that song to go on and on. Didn't get to listen to the full album till 1972 when I started work - couldn't afford LP's up until that stage. lol
"Got to Get You Into My Life" charted in the U.S. in 1976, 10 years after it was recorded.
George's riff on I Want To Tell You is one of the greatest little riffs of all time.
Agree completely! Plus I’d add the riff of She Said, She Said as another classic
Caroline, what an unexpected Treasure you are ! In 1964, The Ed Sullivan Show changed teenage life in America forever ! The Beatles not only dominated popular Music they separated the Generations. The family gathered around the TV as we saw them for the first time. The parents didn't get it but we did. All we had was AM Radio. I use to fall asleep with the radio under my pillow. They played I Want To Hold Your Hand 4 or 5 times every hour. I graduated from 8th Grade with a Lapel-less, Beatles Sport Jacket with black piping and a pair of Beatle Boots with 2 inch heels. Every new Album was the next progression in modern culture. We knew every detail about each of the Lads. The funny and amazing thing about the Beatle phenomenon in America, is that The Beatles had no idea of the impact they were having. John and Paul were a Magical writing team. They loved each other and they Loved their powerful, ability to create Music. Don't believe the Hype, Yoko broke up the Beatles. She's a low talent Narcissist that had no business being in the studio while the Band was working. The Beatles developed in Hamburg Germany where they developed their musical style playing 12 hours a day, 7 days a week.
Hand in hand with their musical ability was that they turned most interviews into a comedy routine, it gives you a glimpse of their personalities.
Concerning the album art: something interesting that we of our era might not realize is that the cover for Rubber Soul wasn't just another picture of the group. At the time, it was QUITE revolutionary because it was distorted and "rubbery". That sort of subtle trick is an everyday thing nowadays, but back then it was a graphic design innovation, and tied in with the emerging drug culture.
Agreed. The artwork for Revolver was created by Klaus Voorman a Beatles friend from their Hamburg era, himself a very good bass player as well as a graphic designer, later playing on both All Things Must Pass & Imagine albums and with many other artists. Tomorrow Never Knows was the inspiration for the psychedelic art.
The original photo for the cover of Rubber Soul. Photographer Bob Freeman had taken some pictures of the group at Lennon's house. Freeman showed the photos by projecting them on a piece of cardboard to simulate how they would appear on an album cover. The unusual Rubber Soul album cover came to be when the slide card fell slightly backwards, elongating the projected image of the photograph and stretching it. Excited by the effect, they said: "Ah! Can we have that? Can you do it like that?"
Thank you Caroline for your joyful and quirky critique.
Imagine how this album sounded to people in 1966. It changed everything. Quite apart from the unusual effects (it was before synths or digital effects were invented), the sheer quality and variety of the songs was like nothing anyone had ever heard. This album influenced everyone who came after and is still influencing them today.
I could bore you with an explanation of each song, but there are plenty of books published that do this - probably the best is Revolution in the Head by Ian MacDonald.
Geoff Emmerick gets massive credit for this album. His first engineering job with them was on Tomorrow Never Knows. You loved the drums. That was Emmerick who "broke the rules" of EMI and put the mics very close to the drum heads. That was a big no no with EMI because the mics were very expensive and they thought it would damage them. John hated his voice and wanted something different. He wanted to have himself suspended in a harness and swung around the mic while he was singing, but Emmerick tried running the mic through an organ's Leslie cabinet to get a different sound. John loved it and Ringo loved the drum sound. The random sounds throughout the song were tape loops. The one that sounds like sea gulls is actually Paul laughing but the loop was sped up. One of the other sounds was orchestra noise (maybe tuning up, I can't remember) that was reversed and sped up. One was a guitar solo that was reversed and sped up. When they engineered the final take, it was done on the spot as they raised and lowered the slides on the mixer.
This album solidified my total love and admiration of the Beatles. Eleanor Rigby, I'm only sleeping, Got to get you into my life, and the creeping Indian influence---- I loved it all. I sang these songs for decades.
Woah! Jim Paredes of APO! So nice to see you here admiring the Beatles.
Please listen to the entire album again by yourself. It just keeps getting better with every listen, which is the hallmark of it's greatness
I feel sorry for Caroline needing to chop up her first-time listening experience. I just hope she listens to the whole albums (all of these) for days on end to really enjoy the craftsmanship.
Don’t overthink too much. Enjoy and appreciate the cleverness of the music and lyrics.
She'll need about three batteries standing by for the White Album!
She mentioned in another video she does go back and listen to the albums again.
She has to "chop up" songs because of 8 second copyright laws. I think.
She has said she listens multiple times, and I’m sure this includes while filming the recording. She chops them up in post. You can see the edits.
Unfortunately, this is the way it has to be- UA-cam basically lets the copyright claimant act as the arbitrator instead of using an independent party, if the claim is disputed. If you do dispute a claim for fair use, for example, which this clearly would be, you don’t stand a chance. What’s worse is you get a “strike” against you, and three strikes and your channel is blocked. Most don’t even bother to dispute because of this. This has actually been brought before Congress a number of times for some oversight. A number of prominent artists and producers in the business have testified against the practice, but Congress is so far behind the curve on tech, nothing ever happens.
In Here, There Everywhere, in the bridge after he sings "but to love her is to need her.." and then floats down so gently on "...ev ry where.." is just so gorgeous!
Yeah, I would love to see a video analysing their harmonies
Thinking that they went from Please Please Me to Revolver in just 3 years blows my mind. What an evolution they had.
Yeah it’s insane considering many artists now take longer than three years just to record one album
"Here, There and Everywhere" is one of the most beautiful songs ever written. That's why Paul is my favourite musician - because of all his magical ballads like this. I want "Here, There and Everywhere" at my wedding... if it happens one day😂
Thanks for the video Caroline!
Ironically, Paul just named that song as his favorite too in an interview I heard this week with Terry Gross ( NPR/ Fresh Air ). He said other ones might also be faves, but if pressed that’s one he’d mention. Loved her interview !
@@thomascanfield9165 he said that that stands out as his favourite because John liked it too, which is very nice and shows how even now, Paul respects johns opinion on his work
@@Midnightmidway mccartney and Ram are also incredible albums, and he had some iconic singles, especially his collaborations with Michael Jackson. It’s not fair to suggest band on the run is the only good thing he did after the Beatles
@@Midnightmidway You’ve got that right ! I was surprised to learn Paul had the top grossing concert tours of the 70’s, since he wasn’t even on my radar. As for John, I was loving every album and urgently bought them as soon as they came out. As for these days, I still like Paul though. Heard a few good interviews recently with him talking to Conan, Sean Lennon and Terry Gross. He said he still feels like he’s 25, and I have to admit I admire his youthful attitude and energy !
I'm in my 70's and fell in love with The Beatles the first time I heard them. Even today I have photos and posters of them on the walls of my study - their music is always playing.
I can't say that one Beatle was better than the other, they all brought different styles and stories and certainly different energy to the group.
I love every song they produced but I must admit that Here, There and Everywhere is simply brilliant and is a favourite.
Even after the breakup they individually produced some fantastic music - not as progressive as their collective Beatles efforts but still good music.
I'm so glad young people like Caroline can appreciate the complexity of their music and for that we must thank George Martin He was brilliant, simply brilliant.
I was a huge Beatle fan but when Revolver came out I didn't understand it; it was a million miles from anything any other band had ever recorded. But my cousin was a classical pianist and he loved it - he saw, musically, where they were going. Now it's my favorite album of all time, and Tomorrow Never Knows my favorite song. It's also my phone's ringtone, and people still turn around when the hear it.
I would definitely turn around if I heard that ringtone!
And Your Bird Can Sing is my favorite Beatles song! A musical masterpiece!!!!
Its from the cartoon TV show too
There are so many "Reactions" videos out there these days - many of them little more than watching people while they listen to chopped-up snippets of albums and offering up inane gasps and "wows".
Yours is SO different. First of all, you actually react - with every fibre of your self (check out those eyes at 4:44, for example!). You move and you "wow", but you have the knowledge to back up why certain moments cause those responses. And you seem to have such a feel for the music, that you can pick up in that one listen, and then - crucially - convey those feelings to us less eloquent viewers in such a clear and enthusiastic manner.
Every one of your videos I have so far seen is delightfully captivating.
Now someone needs to do a "First time watching Call Me Caroline reacting to Revolver" video!
The variety! Just consider the astounding variety of songs, styles, and themes on this LP. No one had EVER done anything like this on a successful pop album. It broke so much ground, and even today, more than four decades later, I don't think anyone else has matched the incredible breadth of music on this one record.
This really sums it up right, thanks mate!!! 🙏
Not even the Beatles themselves!
@@samsowden but they did. On the White album.
@@Cromeyellow66 Heh, sort of, but then they had four sides to play with, not just two!
*more than 5 decades later. ;)
You're welcome
The "Revolver" cover is a standout in the history of LP covers. Utterly beautiful!
The cover was done by their old pal from the Hamburg days, Klaus Voorman. Klaus also played bass on many famous records, notably all of Manfred Man’s hits and Carly Simon’s You’re So Vain.
When my wife is asked what her favorite song is, she always responds .... "The Beatles" ! What I love about them is that when you heard that a new album was being released, it was a BIG thing because nobody had any idea of what was to come. They always kept moving and experimenting. The first time I listened to Abbey Road I was by myself and I swear time stopped - showering me with a magical mysticism that I've never felt since.
Yes, I keep saying all over the place that every new Beatle record was an EVENT back then! And yes, I remember bringing home "Abbey Road," and sitting between my Dad's speakers to listen to it. What a sonic experience that album is! Side One, from "Come Together," through till the massive playout of "I Want You (She's so Heavy)" till it just stops is utterly brilliant. Then the sheer audio breadth of "Something" opening Side Two, and in the Medley, after McCartney sings, "Once there was a time..." the wonderful orchestral chords that just fill the space between your ears. A huge album... and very much the magnificent closure of The Beatles' oeuvre!
I read a great little nugget recently about that, about the excitement when a new Beatles album was coming out. Apparently (and of course, many of these little nuggets are semi-mythical, but anyway...) when the band got their first master copy of Sergeant Pepper's they took it round to Mama Cass Elliot's flat in Chelsea, it must have been a good night because at 6am they stuck the loudspeakers in the window and played the album loudly to the neighbours. There were many windows opened, but not a soul complained, they knew what they were hearing. What would you give for that..?
You are right, in 68 they made the White album, I was 12 going on 13, my brother 17 or 18 bought the White album, with a smile on his face he said ,I ve got it! = I just bought it! We knew before we even listened to it that it would be great, you know every Beatles lp at least from Rubber Soul, got better and better, with the exception of Get Back,
you’re absolutely right about the horror sound in eleanor rigby; the staccato strings were influenced by the theme for psycho! paul mentions this in the lyrics, which was only just released!!
Oh wow, there you go! Thanks for that Kate
@@CallMeCaroline yes the orchestration in "Psycho" was by Bernard Hermann. Producer Sir George Martin admitted to wanting to use that spiky, urgent, foreboding sound when he orchestrated the strings for "Eleanor Rigby". The bizarre thing was that in 1966, this song was paired with "Yellow Submarine" for a double-A side single. 2 more contrasting songs you couldn't get. 😊
George Martin loved the work of Hitchcock's composer, Bernard Herrmann - whilst Pyscho is one, obvious, reference point another was a more recent (equally jagged) Herrmann score for Francois Truffaut's movie version of Fahrenheit 451 which had been released a few months before Eleanor Rigby. George talked about wanting to emulate that score's "wintery" feel which he achieved, magnificently. I think Eleanor Rigby is a work of genius. It's like a complete play, a story with a beginning a middle and an end, all told in two minutes and two seconds and with music which enhances the melancholy.
@@keithtopping248 that's so so interesting!!
I've never really thought about this before, but...did Father McKenzie kill Eleanor Rigby in the last verse? Died in the church? And then the Psycho strings. If he did, why did it take me 35 years to realize?
Also, not that long ago, I came to the conclusion that 'Darning his socks in the night..' - Ringo's main input to the lyrics - alluded to masturbation.
I loved your analysis of this one. You are right in that Rubber Soul was the epitome of the early Beatles, more sophisticated writing and production but still connected in their early work. Revolver is a break from that and a preview of things to come. You bring a new joy to hearing these songs through your ears! I can barely wait for another three weeks!
"Rubber Soul" is solid middle-era Beatles. "Help!" was the transition into the new period.
"Here, There, and Everywhere" is my very favorite love song of all time. the sentiment and surety of knowing you'll always be there. Like god's love.
I want to tell you is such an underrated song on this album IMO. By this point George is becoming such a thoughtful and meditative songwriter, less melodic in the western sense than Paul, but with his interest in Indian music working so well with his laid back rock sound. I think that even though they didn't always get on, Paul was very receptive to George's interest in these sounds, he performs the Indian-sounding vocalising on the fade-out, as well as the sitar-like guitar solo on Taxman.
Tomorrow Never Knows: "I can only imagine how they performed that live."
That's the neat thing...
“… We don’t…”
@@iwanmorris293 It wasn't possible! You can't recreate the one-time sound of random pieces of tape just tossed in the air and then looped. Yikes.
They never did.
@@rb9628 Correct R B. However if anyone could reproduce "Tomorrow Never Knows" on stage live, it would probably be "The Fab Four" Beatles tribute / cover band. They are incredible. Check them out here on UA-cam.
Look.up "The Analogues" on you tube.
They don't look like the Beatles but they play the exact same instruments that the Beatles played.
They play everything that the Beatles didn't play live, live..
Paul is a songwriting genius, and the more Beatles I listen to the more his genius stands out.
It’s a pleasure seeing you enjoy the Beatles, I started late like yourself and it’s become a border line obsession 😂 their musicality is immense!
“I wonder how they played this live.”
They didn’t play any of Revolver on the tour following the recording even though it was their last. They were done with touring and screaming crowds.
I really would have liked to see the look on Caroline’s face when she found out exactly what the tape loops were and how they were mixed into Tomorrow Never Knows