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Author Topic: Revolution  (Read 7980 times)

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zipp

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Re: Revolution
« Reply #40 on: October 16, 2006, 10:11:13 AM »

Quote from: 216
I really cannot hear pre-recorded vocals, but maybe it's very subtle.

I don't think it was necessary to put "pre-recorded vocals" in all caps. That was kind of condescending. As if I couldn't comprehend otherwise.

 Also, sorry to sound ignorant, but are Lewisohn's statements absoulutely undebatable? I'm not being sarcastic, I really don't know. I supposed I could just look it up.

I know Frost didn't have anything to do with the music, I said maybe they fixed it up before it went out. Again, the version I have is very raw. You hear feedback a few times, talking, and breathing. I don't hear that on the Anthology at all. So I figured they cleaned it up a bit. Not Frost, them.

 I just think from a fans point of view a total live version would have been really cool and would have sounded not 'pretty good' but probably awesome.  

Lewisohn can make mistakes but he's pretty reliable.I think you should buy the book AND discuss here.
I put capitals for clarity since it clearly answered a part of the question.Hey Jude and Revolution were filmed the same day in the same place by the same producer and for the same reason so I imagine methods would have been at least similar.
The first clip on youtube doesn't have the recorded vocals on but it definitely has fake applause added at the end which shows there was a certain chicanery going on.My observations are for the Anthology video .And there's still the absence of that piano which gives the game away.
We'll have to agree to disagree about the possible awesomeness of a real live filming.They hadn't played live for two years and were used to studio editing, overdubbing etc.So I think it would have been under par.

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Sondra

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Re: Revolution
« Reply #41 on: October 16, 2006, 05:28:16 PM »

Sure, but what fan wouldn't want to see a live performance even if it wasn't perfection. They were a pretty seasoned live band. I don't think we're giving them much credit by saying it would be subpar. I think it just wouldn't have been perfect. And I think if the Beatles are guilty of one thing it is being too perfectionistic at times. That's a heavy burden to carry. But yes, we'll agree to disagree.  :)
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zipp

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Re: Revolution
« Reply #42 on: October 16, 2006, 07:57:57 PM »

Quote from: 216
Sure, but what fan wouldn't want to see a live performance even if it wasn't perfection. They were a pretty seasoned live band.

The live stuff I'd have liked to see was Paul's idea during the Get back sessions.A small filmed concert of them doing their new songs in front of an invited audience.
They could have packaged it first as an album then as a film.
But you're right that for that they were too perfectionist, especially George.

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Mairi

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Re: Revolution
« Reply #43 on: October 16, 2006, 10:44:49 PM »

Personally I would've preferred a live version to the backing tracks. I think that (especially on a song like Revolution) this would've given them a harder edge.
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zipp

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Re: Revolution
« Reply #44 on: October 19, 2006, 04:55:25 PM »

Quote from: 218
Personally I would've preferred a live version to the backing tracks. I think that (especially on a song like Revolution) this would've given them a harder edge.

Well, I've been looking at that first youtube clip again and I think maybe they sang along to a pre-recorded version that they'd 'taped earlier' (sounds like a cookery programme!)
I say this because the version does sound a bit rawer than the studio version and there's a bit of feedback.
But I still don't think they're playing their instruments when being filmed.At one point in the clip ( from 0.57 to 1.02) Paul plays his bass when there isn't any to be played, he then stops and looks slightly perplexed.
I've also noticed something weird about the Hey Jude film but I won't go into that or you may say I'm off topic. :)
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Sondra

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Re: Revolution
« Reply #45 on: October 19, 2006, 05:00:51 PM »

Quote from: 410

Well, I've been looking at that first youtube clip again and I think maybe they sang along to a pre-recorded version that they'd 'taped earlier' (sounds like a cookery programme!)
I say this because the version does sound a bit rawer than the studio version and there's a bit of feedback.
But I still don't think they're playing their instruments when being filmed.At one point in the clip ( from 0.57 to 1.02) Paul plays his bass when there isn't any to be played, he then stops and looks slightly perplexed.
I've also noticed something weird about the Hey Jude film but I won't go into that or you may say I'm off topic. :)

Go into it! No teasing.
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zipp

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Re: Revolution
« Reply #46 on: October 19, 2006, 05:24:22 PM »

Quote from: 216
Go into it! No teasing.

OK, just to celebrate your four thousand posts!

If you watch the Anthology Hey Jude clip (and maybe youtube - I haven't checked) , when they get to the end singalong, behind Ringo there's a black guy with his arms round the shoulders of a guy in an orange jersey.If you keep looking this black guy suddenly goes way left of Ringo and is on his own.Later he can be seen back with the orange jersey man again.
Now Lewisohn says they basically put together two takes - the solo part and the singalong part - but things are obviously more complex than this.
So there you are, proof that Lewisohn sometimes gets it wrong. ;)
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Wayne L.

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Re: Revolution
« Reply #47 on: October 23, 2006, 09:01:24 PM »

The fast version of Revolution with Hey Jude is great, the slow version on the White Album is great & even the freaky avant garde version from John is great.
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JimColyer

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Re: Revolution
« Reply #48 on: October 24, 2006, 09:52:37 PM »

Revolution is a classic record for all-time.
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Kevin

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Re: Revolution
« Reply #49 on: March 18, 2010, 02:53:58 PM »

Found this 1968 review of Revolution from student paper The Harvard Crimson. And they ain't happy. Bl**dy students, moaning all the time, wait till they've got to pay a mortgage....

JOHN LENNON claims that the Beatles' songs do not carry any messages and says he resents people who try to interpret them in that way. Neverheless, his latest song, 'Revolution', is so explicily and brutally to the point that one cannot help but sense a morning in it--and be painfully startled by this particular message. The song is a vicious and unqualified rejection of politics-in-the-street and its inevitable aspects of violence and disorder--a style that has been practiced supremely in the recent pass in France and at Chicago.

Apparently, this outburst of Lennon's in 'Revolution' was provoked by a request made by some radical organization for money and help from the Beatles. Since the Beatles, in their songs from 'We Can Work It Out' to 'All You Need Is Love' have consistently exhibited a semi-political concern for the state of the world and since they are reputed to hold sensible attitudes towards their unbounded wealth (they recently closed the Apple Boutique in London and gave away the store's entire stock of clothes free because, in Paul McCartney's words "We didn't want people to think that the Beatles had become mercenary") the radicals hoped that the Beatles would lend their wealth and influence to political causes.

The response the radicals got from Lennon was hardly the one they expected however. John obviously does read the newspapers from time to time and he seems to have brooded over the reports of the manifestations of he new political style, raucous and unbridled as it is. There have been several incidents in England, and the much greater disturbances in France, and Columbia University were surely widely reported there. In any case, 'Revolution' lashes out at the methods and the mentaliy of the politial radicals of today.

There's some truth, of course, in what the Beatles say. We all know that politics in-the-streets has its problems; that bruality and anarchy are risky and ugly. But we also know that far greater brutalities than any protesting students can bring about are committed everyday by governments, and that reality makes the Beatles' viewpoint trivial, insensitive, and unnecessary.

The Vietnam War does go on, it is immoral and murderous, and the Beatles have never spoken up about it. Sometimes institutions are repressive and rooted themselves in violence and indecency (yet the Beatles sneer, 'You say its-the institution/Well you know you better free your mind instead'). Racism is as much a problem in England as it in the United States, but the Beatles meekly accepted the grotesque MBE that was dangled before them by the peculiarly callous and avaricious British Environment.

IN SHORT, there are many evils in the world today--one should do something about them.

Abrasive confrontation-demonstrations are imperfect responses and their inadequacies both in terms of cost and achievements trouble all of us--but they, unlike the Beatles' snide noninvolvement, are a response.

For the Beatles to attack the militant protestors while ignoring, as they have done for too long, the objects of the protests reveals a weird sense of priorites.

Our sense of betrayal is made even more acute by the fact that the Beatles are such formidable anatagonists. 'Revolution' is a great record. The music is gripping and explosive from the Chuck Berry riff that opens the song, to the bar of feedback that ends it, and the lyrics are some of John Lennon's most rythmically controlled. And when at then end Lennon, rasping shouts, the challenge "All Right" over and over again one trembles in disbelief and honor that he is shouting at the wrong people.
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Bobber

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Re: Revolution
« Reply #50 on: March 19, 2010, 08:53:40 AM »

What the hell did they want? The Beatles were just a rock 'n roll band that made it very big. Nothing more, nothing less. Why did they expect The Beatles to react or help them?
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Kevin

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Re: Revolution
« Reply #51 on: March 19, 2010, 09:42:44 AM »

What the hell did they want? The Beatles were just a rock 'n roll band that made it very big. Nothing more, nothing less. Why did they expect The Beatles to react or help them?
I guess if they'd said nothing then people would have been okay.  Like you say they're just a band, but no one expected them to be narcs. Though to completely ignore what was going on wouldn't have been very cool, and this was 1968, when I think there was a belief that everyone was in it together.
But the fact that The Beatles issue a song that so completely goes against the current mood of youth culture was a bit much for some people. It basically tells kids not to be angry and behave themselves. And this is the exact moment when kids felt they should be angry and shouldn't behave themselves. And here's The Beatles from their comfy stock broker belt millionaire mansions advising them to calm down. Not very cool.
In fact I suggest this song is as uncool as Elvis sucking up to Nixon. This could be the point The Beatles lost the title of Greatest British Rock Band to The Stones. They sounded edgy and dangerous with a hint of violence, perfectly in step with the mood of the day
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Almighty Doer of Stuff

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Re: Revolution
« Reply #52 on: March 19, 2010, 04:18:51 PM »

John wasn't really "[telling] the kids not to be angry and behave themselves" though, even if that's how the song was interpreted by some people, including, apparently, the author of that article. John was simply informing them that he thought, as he always had, as indicated by his previous songs and statements, that there were better ways to get things done than with violence and hatred. In fact, I think the stupidity was not on John's part, but on the morons who actually thought that a self-styled peace activist would, for some inexplicable reason, completely change his tune and support a violent revolution, just because it was "hip".
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Kevin

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Re: Revolution
« Reply #53 on: March 19, 2010, 04:31:06 PM »

In fact, I think the stupidity was not on John's part, but on the morons who actually thought that a self-styled peace activist would, for some inexplicable reason, completely change his tune and support a violent revolution, just because it was "hip".

Hang on. I don't think anyone in 1968 would have recognised Lennon as a "self styled peace activist." That was still to come. What "previous staements and songs" are you referring to?
And by 1969 wasn't he hanging out with the likes of Jerry Rubin and The Black Panthers, (not exactly peaceful hippies) maybe for the very reason you state -  because it was "hip."
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Re: Revolution
« Reply #54 on: March 19, 2010, 04:35:40 PM »

Oh, I didn't know that. By "previous songs" I was referring to "The Word" and "All You Need Is Love", but now that I think of it that's only two songs. Nevermind then.
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Hombre_de_ningun_lugar

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Re: Revolution
« Reply #55 on: March 20, 2010, 04:07:46 PM »

I thought the Beatles had a few B-sides that charted in the top ten and a few that hit number one. Eleanor Rigby was a B-side wasn't it? And Revolution was in the top ten, so it had a good chance. This is the Beatles after all.

In US the A-sides and B-sides charted separately during the 1960's, while in UK only the A-sides charted. "Eleanor Rigby" was a double-A side single with "Yellow Submarine" in UK, so both of them were #1 there. But in US "Eleanor Rigby" was considered the B-side and was #11 ("Yellow Submarine" peaked at #2).

About "Revolution", it reached #12 in US, quite good considering that it was a B-side. It was almost impossible for a B-side to be a #1 because it was more probable that the A-side reached a higher position.

Other examples about singles whose B-sides charted high in US:

"I Feel Fine" (#1)/"She's A Woman" (#4)
"We Can Work It Out" (#1)/"Day Tripper" (#5)
"Penny Lane" (#1)/"Strawberry Fields Forever" (#8)

And "Something"/"Come Together" were both #1 because charting rules in US changed from that moment.
« Last Edit: March 20, 2010, 04:11:47 PM by Hombre_de_ningun_lugar »
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