DM's Beatles forums
Beatles forums => Songs => Song Of The Week Series => Topic started by: nimrod on July 27, 2014, 01:01:39 AM
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I chose this one because of me going to see the White Album Live concert the other week, I actually found what the band did very interesting, I wish it was available to hear again, it made me listen to this in a new light, and its more 'interesting' than I have always thought..
"Revolution 9" is a recorded composition that appeared on the Beatles' 1968 self-titled LP release.
The sound collage, credited to Lennon–McCartney, was created primarily by John Lennon with assistance from George Harrison and Yoko Ono. Lennon said he was trying to paint a picture of a revolution using sound. The composition was influenced by the avant-garde style of Ono as well as the musique concrète works of composers such as Edgard Varèse and Karlheinz Stockhausen.
The recording began as an extended ending to the album version of "Revolution." Lennon then combined the unused coda with numerous overdubbed vocals, speech, sound effects, and short tape loops of speech and musical performances, some of which were reversed. These were further manipulated with echo, distortion, stereo panning, and fading.
Paul McCartney argued against including the track on The Beatles. At over eight minutes, it is the longest track that the Beatles officially released.
"Revolution 9" was not the first venture by the Beatles into experimental recordings. In January 1967, McCartney led the group in recording an unreleased piece called "Carnival of Light" during a session for "Penny Lane". McCartney said the work was inspired by composers Stockhausen and John Cage.
Stockhausen was also a favourite of Lennon, and was one of the people included on the Sgt. Pepper album cover. Music critic Ian McDonald wrote that "Revolution 9" may have been influenced by Stockhausen's Hymnen in particular.
Much of the track consists of tape loops that are faded in and out, several of which are sampled from performances of classical music. Works that have been specifically identified include the Vaughan Williams motet O Clap Your Hands, the final chord from Sibelius' Symphony No. 7, and the reversed finale of Schumann's Symphonic Studies.
Other loops include brief portions of Beethoven's Choral Fantasy, "The Streets of Cairo", violins from "A Day in the Life", and George Martin saying "Geoff, put the red light on". Part of the Arabic song "Awwal Hamsa" by Farid Il-Atrash is included shortly after the 7-minute mark. There are also loops of unidentified operatic performances, backwards mellotron, violins and sound effects, an oboe/horn duet, a reversed electric guitar in the key of E major, and a reversed string quartet in the key of E-flat major.
The unusual nature of "Revolution 9" engendered a wide range of opinions. Mark Lewisohn summarised the public reaction upon its release: "... most listeners loathing it outright, the dedicated fans trying to understand it."
Music critics Robert Christgau and John Piccarella called it "an anti-masterpiece" and noted that, in effect, "for eight minutes of an album officially titled The Beatles, there were no Beatles."
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Great track that Revolution 9...when played backward...
Revolution 9 Backmask (backwards) by The Beatles (http://www.youtube.com/watch?v=PG0wksBzKSc#)
Plenty of clues there! This track on my LP is very worn from playing it at different speeds, forward and backward, when I was in college. ;D
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I prefer it forwards
No 9 No 9 No 9...........
Revolution 9 from The Beatles (http://www.youtube.com/watch?v=MJeqOoc4HmI#)
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If this isn't the least popular Beatles track I don't know what would be. I guess it's fair enough that people wonder what on earth they were thinking. Given at the time people listening habit was to whack on a record this must have caused consternation and impatient track skipping at lots of parties and bbqs.
I suppose it's all a bit indulgent and taking the experimentation thing a bit too far. Certainly Paul seemed to think so and he was always going on about his experimental and avant garde interests. I think Paul always liked the idea of incorporating experimental ideas but not compromising the overall listenability of the final product. It was meant to be seasoning rather than the protein.
But for what it is I think it's well done. It really has an eerie, creepy quality to it. It's certainly beyond just random noise. It hangs together as a mood piece.
Never listen to it though.
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Pure utter sh*t.
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Pure utter sh*t.
Harmonies are nice though
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'Revolution No. 9' almost defines what the 60s were all about, and it seems incredible, especially from this distance, that the biggest group of the era (and every other era.....by miles) could put out such a track on one of their mainstream records, one that was No. 1 for two months, and not as an off-shoot project.
That, categorically, could not be done today, or indeed in any era since the 60s.
The merging of such madness and pop music is what compels me to virtually reside entirely in the 50s and 60s and disregard the eras afterwards as lesser in terms of experimentation, importance and, let's not forget, fun.
'Revolution No. 9' would not get in my Beatles Top 100, but without it the group and the 60s itself would be just like the decades that followed it, i.e. forgettable/not all that.
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I have no use for it and haven't since 1968. Fans of Stockhausen seem to like it. I hit skip when playing the White Album on CD or on my PC, but not on vinyl (but sometimes I hit the mute button).
To each their own. There was a thread about it over at the Hoffman forums several months ago that got deleted because it got pretty nasty. Some posters said some elitist nonsense about if you don't like Number 9, then the rest of your record collection must suck. Then it just got worse so the mods deleted it.
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I accepted it upon its release and regarded it as fairly well done sonic expressionism. Or something. Anyway, I could never say I hated it.
In fact, I felt it was pretty cool to go so outside the box, so to speak. That, certainly, could only have been done on a double album.
I think I mention this before somewhere on the boards, but I have a John Cage recording that really reminds me of '9'. Startlingly so.
:)
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Pure utter sh*t.
Agree but we all know their sh*t doesn't smell.
I went through a period with friends long time ago that it was listened to at the end of an evenings worth of partying. I don't think I've listened to it in 25 years.
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Mark Lewisohn summarised the public reaction upon its release: "... most listeners loathing it outright, the dedicated fans trying to understand it."
That pretty much sums up my own reaction. I hated it the first time I heard it, tried to understand it because it was a Beatles track, failed to understand it, and now pretty much always skip it.
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That pretty much sums up my own reaction. I hated it the first time I heard it, tried to understand it because it was a Beatles track, failed to understand it, and now pretty much always skip it.
I'm with you! Once you realize you can't figure it out, you tend to skip it!
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I accepted it upon its release and regarded it as fairly well done sonic expressionism. Or something. Anyway, I could never say I hated it.
In fact, I felt it was pretty cool to go so outside the box, so to speak. That, certainly, could only have been done on a double album.
I think I mention this before somewhere on the boards, but I have a John Cage recording that really reminds me of '9'. Startlingly so.
:)
I feel a bit the same as you Klang
Its not a song, so you cant play it while your driving or doing the ironing ha2ha
BUT I find that when Im in the mood I can listen to it on headphones (way better on headphones) and sort of transcend into it (like I do with prog rock) I mean compared to tracks by the band Yes its short at 8 minutes, Close To The Edge is 22 minutes long and so are many Yes tracks
I like the way it builds in intensity and becomes hostile and threatening, one of the most beautiful things for me is the angry chants which eventually morph into the tender side of humanity with the opening achingly sweet (and sugary) melody of John's 'Goodnight' I absolutely love that.
I disagree and agree here with oldbrownshoe, it does show what was possible in the 60's and the 'way out' experimentation of the period but if you explore symphonic rock in the 70's there were many many just as daring things done, and done in a marvellous way by bands like PFM, King Crimson, Yes and early Genesis. I mean Yes practically put the bible to music on Tales From Topographic Oceans........ ha2ha
Its obviously not for everybody, you dont really have to understand it (like a surreal painting) it is what it evokes in your own head.
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As I've said before I've tried to like this but there's just something about Yoko saying "If you become naked" several times that puts the brakes on it. LOL The few times I've listened to it all the way through I wound up feeling rather anxious.
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As I've said before I've tried to like this but there's just something about Yoko saying "If you become naked" several times that puts the brakes on it. LOL The few times I've listened to it all the way through I wind up feeling rather anxious.
I definitely feel anxious when Yoko says that ;)
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^^^
ha2ha
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I like the way it builds in intensity and becomes hostile and threatening, one of the most beautiful things for me is the angry chants which eventually morph into the tender side of humanity with the opening achingly sweet (and sugary) melody of John's 'Goodnight' I absolutely love that.
I can't recall but I don't think I ever heard No 9 before the whole Paul is Dead thing was around. As one of the clues is that some of the sounds depict Paul's fatal crash it's hard to ever listen to it without that disturbing imagery in my head. That's probably influenced my perception of it all this time.
The mellotron flutes always give a funereal ambience to me as well.
So Goodnight is a blessed relief when it finally turns up.
I must try listening to it late at night after a few red wines. With the lights off.
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I must stress that I'm not that taken by 'Revolution No. 9', it's just that if you have a group (and an era) that attempts something like 'Revolution No. 9' you get.....'Tomorrow Never Knows', 'Strawberry Fields Forever', 'Long Long Long' and 'Revolution'.
And while a Top 40 pop group's doing this, other things are happening, like man is landing on the moon!
If you are in an era that doesn't attempt something like 'Revolution No. 9' you get Oasis, and no one is landing on the moon.
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I must try listening to it late at night after a few red wines. With the lights off.
You're a brave man, Moog!
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I'm going to have to say it and this is without reading the comments, but if anybody finds any enjoyment of any kind in that mess of gibberish bullsh*t, they are being Beatle homers and nothing more.
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I'm going to have to say it and this is without reading the comments, but if anybody finds any enjoyment of any kind in that mess of gibberish bullsh*t, they are being Beatle homers and nothing more.
You call it gibberish bullsh**t like it's a bad thing. I'm beginning to suspect you're not fond of the piece.
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I'm going to have to say it and this is without reading the comments, but if anybody finds any enjoyment of any kind in that mess of gibberish bullsh*t, they are being Beatle homers and nothing more.
ha2ha
I am a Beatle homer (whatever that is) I freely admit it
I had the White album on in the car on the way to the white album concert, mainly for Gwyneth to hear some of the songs (she's not a Beatle nut like me) anyway Wild Honey Pie came on and she said ' how did they get away with that tripe. any other group wouldve been slated for recording songs like that'...............I tried to defend the indefensible by saying 'they were just having fun, I have to admit though, it is tripe ha2ha
I think Rev 9 is tripe also, but something in me likes it.
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I think Rev 9 is tripe also, but something in me likes it.
If I ever marry again I think I'll use it for the bridal waltz. partypeople
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Yes, the thing is would anyone actually change anything on the 'White Album'?
Sure, 'Hey Jude' could replace 'Revolution No. 9' and 'Revolution' could replace 'Wild Honey Pie' and 'Lady Madonna' or the early take of 'Across The Universe' could replace 'Why Don't We Do It In The Road' but then is wouldn't be the 'White Album'!
Didn't Paul himself say about 20 years ago when a journalist argued how the 'White Album' could be better.....'It's the f******* White Album by The Beatles!!!!'
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That's it. It is what it is. And this thing is an indelible part of it, for better or worse.
roll:)
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Personally Id have preferred a single album
it wouldve been very strong
Im a Beatle nut so I can listen to the tripe on here but there is a lot of extremely average songs
Wild Honey Pie
Dont Pass Me By
REv 9
Rocky Raccoon
Bungalow Bill
WDWDIITR
all shouldve been ditched
See this is what I never understand, Step Inside Love = much better song than all the above
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Personally Id have preferred a single album
it wouldve been very strong
Im a Beatle nut so I can listen to the tripe on here but there is a lot of extremely average songs
Wild Honey Pie
Dont Pass Me By
REv 9
Rocky Raccoon
Bungalow Bill
WDWDIITR
all shouldve been ditched
See this is what I never understand, Step Inside Love = much better song than all the above
I like that song!
Don't pass me by.mov (http://www.youtube.com/watch?v=naC5T_s0Vig#)
Mama Tried Band
Don't Pass Me By - The Georgia Satellites Live Roskilde festivalen 1988 (part 3 of 8) (http://www.youtube.com/watch?v=r0uSLM8ndYM#)
The Georgia Satellites
(http://i48.tinypic.com/2rcq4v7.jpg)
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Personally Id have preferred a single album
it wouldve been very strong
Im a Beatle nut so I can listen to the tripe on here but there is a lot of extremely average songs
Wild Honey Pie
Dont Pass Me By
REv 9
Rocky Raccoon
Bungalow Bill
WDWDIITR
all shouldve been ditched
See this is what I never understand, Step Inside Love = much better song than all the above
Yep! I like that one too!
Back Forty - Rocky Racoon (Beatles cover) (http://www.youtube.com/watch?v=VEitRDj2Fig#)
Back Forty
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Yes, the thing is would anyone actually change anything on the 'White Album'?
Hell yes i'd change stuff on the White Album. I remember doing the microscope on it and thinking to myself that there's a bunch of crap on this album that I really don't care for. It easily should have been a single record.
Didn't Paul himself say about 20 years ago when a journalist argued how the 'White Album' could be better.....'It's the f******* White Album by The Beatles!!!!'
Paul and John both had a few instances where they said screw the people, we're the Beatles and they'll buy it anyways and of course we did. In hindsight, they shouldn't have gotten away with a few of those things. Revolution #9 is one of them.
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Hell yes i'd change stuff on the White Album. I remember doing the microscope on it and thinking to myself that there's a bunch of crap on this album that I really don't care for. It easily should have been a single record.
Paul and John both had a few instances where they said screw the people, we're the Beatles and they'll buy it anyways and of course we did. In hindsight, they shouldn't have gotten away with a few of those things. Revolution #9 is one of them.
I think most of us vote with our feet on this. I have a playlist with a cut down version of the White Album. Cutting off Rev 9, Wild Honey Pie etc. I really don't care to listen to them. So like most I think a single album would have been objectively better for people who aren't "homers" (also never heard that term but I'll go with it). Theres stuff on there if it were recorded by any other band I wouldn't pay attention to in the least. So the Beatles were taking advantage of our devotion.
But I have some sympathy for the view that one of the points of the white album is this sprawling canvas with top class stuff, experimental crap and throwaway ditties. So it has its own reason for being. I don't begrudge its existence. I simply avoid listening to stuff on it I don't like.
And I guess Paul has a point. It remains one of the Beatles best selling albums and usually rates highly in critics choices of all time best albums If it hadn't sold criticisms would have had more currency.
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If I ever marry again I think I'll use it for the bridal waltz. partypeople
Helter Skelter is a good choice too. ;)
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Yes, the thing is would anyone actually change anything on the 'White Album'?
I wouldn't want to change a single thing. The album reflects a certain period of time for The Beatles and the world. My disliking a song doesn't mean that everyone else dislikes it too. "Different strokes for different folks."
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I wouldn't want to change a single thing. The album reflects a certain period of time for The Beatles and the world. My disliking a song doesn't mean that everyone else dislikes it too. "Different strokes for different folks."
your a homer too ;D
(new word for me)
I wouldve much preferred a strong single album, I agree with George Martin on this
theres so much lame crap on there it spoils the great tracks a bit
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your a homer too ;D
Ain't no bout a doubt it! ;D
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But.....erm.....it's the 'White Album'...the WHITE ALBUM!!!
Changing it would be like asking Damien Hirst to alter the smile on the Mona Lisa cos it's a bit too enigmatic.
I wouldn't change anything on it, not a second, if anything I'd have preferred a bit more of the 'Wonderwall'-style George.
Now as for the fantastically over-rated 'Exile On Main Street', the original reviews/opinion on Exile were right, the revisionism wrong, never has a double-LP more warranted being a single LP.
Keep the brilliant side 2, the Stones last hurrah!, Sweet Virginia/Torn & Frayed/Sweet Black Angel/Loving Cup.
Ditch the Honky Tonk Women-lite Tumbling Dice and Happy, and have a side 1 made up of the leftovers.
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Homer = Fanboy/girl!
Homer is mainly an American term for people who are blindly devoted to sports teams as opposed to rational, objective fans like me who have realistic views and expectations for their teams. :angel:
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But.....erm.....it's the 'White Album'...the WHITE ALBUM!!!
Changing it would be like asking Damien Hirst to alter the smile on the Mona Lisa cos it's a bit too enigmatic.
I wouldn't change anything on it, not a second, if anything I'd have preferred a bit more of the 'Wonderwall'-style George.
Now as for the fantastically over-rated 'Exile On Main Street', the original reviews/opinion on Exile were right, the revisionism wrong, never has a double-LP more warranted being a single LP.
Keep the brilliant side 2, the Stones last hurrah!, Sweet Virginia/Torn & Frayed/Sweet Black Angel/Loving Cup.
Ditch the Honky Tonk Women-lite Tumbling Dice and Happy, and have a side 1 made up of the leftovers.
What a Beatles Homer! ;D
I actually would cut more of the White Album than Exile. I agree with the revisionism, I think it's brilliant. I agree that it is their last hurrah.
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I'm not a Beatles Homer, I'm a 50s and 60s Homer.
Revisionism is rarely a good thing.
I've never come across anyone, either personally or in print or on film, who lived through the 60s (i.e. born in the 1930s or 40s) who really, I mean really, reckons 'Exile On Main Street.'
I think most of its plaudits come from the various generations afterwards who buy into all the stadium rock/big ticket prices/tongue logo/drugs/heroin chic rubbish.
If anyone can show me anyone from the 60s who is on record as really loving it, I'll be happy to accept that my theory is less than 100% accurate.
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I'm not a Beatles Homer, I'm a 50s and 60s Homer.
Revisionism is rarely a good thing.
I've never come across anyone, either personally or in print or on film, who lived through the 60s (i.e. born in the 1930s or 40s) who really, I mean really, reckons 'Exile On Main Street.'
I think most of its plaudits come from the various generations afterwards who buy into all the stadium rock/big ticket prices/tongue logo/drugs/heroin chic rubbish.
If anyone can show me anyone from the 60s who is on record as really loving it, I'll be happy to accept that my theory is less than 100% accurate.
Well I was born in '55 and remember when Exile came out and loved it then. I wan't born in the 30s or 40s but at 17, I was old enough to appreciate it. I always thought it their best record. I never bought into the heroin, tongue, etc. In fact, I don't like most of what the Stones released after Exile. But that's just me. I don't care what critics thought about it.
The Homer comment was a joke.
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Well I was born in '55 and remember when Exile came out and loved it then. I wan't born in the 30s or 40s but at 17, I was old enough to appreciate it. I always thought it their best record. I never bought into the heroin, tongue, etc. In fact, I don't like most of what the Stones released after Exile. But that's just me. I don't care what critics thought about it.
The Homer comment was a joke.
I always thought Sticky Fingers theyre best album, I played that to death, subjective I suppose
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I always thought Sticky Fingers theyre best album, I played that to death, subjective I suppose
I think they did 4 great ones in a row starting with Beggars Banquet.
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I always thought Sticky Fingers theyre best album, I played that to death, subjective I suppose
I've got that LP! It's got a real zipper on the cover!
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Yep I agree the four starting with Beggars was their final peak.
I like a lot of their earlier stuff too but I'm not sure they put together a really consistent album in that period. Although I find Between the Buttons to be an interesting one.
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I always thought Sticky Fingers theyre best album, I played that to death, subjective I suppose
100%.
I would disagree that their post-'Exile' output is all bad. Maybe not as many winners per album, but some choice cuts along the way.
:)
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Fine, but no one has actually named someone from the era who really reckons 'Exile' and I'm certainly not going to wade through Keef's memoirs to find out!
Amazon rainforests have been ransacked to provide enough paper so that we can be told over and over again of the South of France, Gram Parsons, Bianca Jagger, Keef's drugs etc., so someone must have come across a distinguished/respected name who says 'You know what? Exile is fabulous!'
It's only ever the likes of Bono who seem to truly rate it.....but then he also thinks Frank Sinatra rocks!
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100%.
I would disagree that their post-'Exile' output is all bad. Maybe not as many winners per album, but some choice cuts along the way.
:)
Yep there was still good stuff to be had after. I usually put Tattoo You as the end of the Stones as a significant recording band. After that it seems they just go through the motions.
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I was particularly shocked at how good 'Voodoo Lounge' and 'Bridges to Babylon' were. I remember thinking, 'What woke these guys up?'
I rank both of them up there among their best.
Unfortunately, 'A Bigger Bang' flopped for me. I guess I was thinking, 'What put these guys back to sleep?'
:P
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I was particularly shocked at how good 'Voodoo Lounge' and 'Bridges to Babylon' were. I remember thinking, 'What woke these guys up?'
I rank both of them up there among their best.
Unfortunately, 'A Bigger Bang' flopped for me. I guess I was thinking, 'What put these guys back to sleep?'
:P
I did hear a more recent stones song on some show or movie a couple of monthss ago. It sounded ok. But I didn't recognize it as the stones. More like someone imitating the stones. Clearly too much studio magic going into mick's vocals.
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I was particularly shocked at how good 'Voodoo Lounge' and 'Bridges to Babylon' were. I remember thinking, 'What woke these guys up?'
I rank both of them up there among their best.
Unfortunately, 'A Bigger Bang' flopped for me. I guess I was thinking, 'What put these guys back to sleep?'
:P
so, for you it was 'A Bigger Flop'
ha2ha
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Pretty much the biggest.
:P
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I wonder why there has never been a 'Stones at the BBC' CD?
Just about every other major artist has had one.
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I wonder why there has never been a 'Stones at the BBC' CD?
Just about every other major artist has had one.
I think it would sell a lot of copies.
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Unfortunately, 'A Bigger Bang' flopped for me. I guess I was thinking, 'What put these guys back to sleep?'
:P
Hmph. I thought 'A Bigger Bang' was the best album they made since 'Some Girls'. I love it, but i've been known to have some odd tastes in music.
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We're all just different, and that's a good thing.
I may need to give that one another chance. I think I played it once and was not moved. Some works need more than one listen. I'll do that.
Meantime, I'd suggest a closer listen to 'Voodoo Lounge' and 'Bridges to Babylon'. I think there are some exceptional tracks on those.
:)
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I like Voodoo a lot, but haven't warmed up to Bridges. I'll do the same and break it out again.
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https://www.youtube.com/watch?v=bQDDfW2pMhk (https://www.youtube.com/watch?v=bQDDfW2pMhk)
This is a link to Revolution #1 (Take 20), a take that surfaced some years ago. It makes it interesting and shows how Revolution and Revolution #9 are connected.
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I see what you mean, Cor. Thank you for that. This is the first time I heard it.
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I see what you mean, Cor. Thank you for that. This is the first time I heard it.
Yeah my first time too Cor ;D
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Ah! You didn't think I was only listening to "1", did you?
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I "ALMOST" wish Revolution 9 was not released on the White Album!
;sorry , really I do wish they did not release it on the album! It could have been a hidden gem, like "What's The New Mary Jane".
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I "ALMOST" wish Revolution 9 was not released on the White Album!
;sorry , really I do wish they did not release it on the album! It could have been a hidden gem, like "What's The New Mary Jane".
Yeah, but we needed something to play backwards. For the "clues." ;D
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One of my books said that #9 is a long drawn out version of #!! I've never been able to hear it though!
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One of my books said that #9 is a long drawn out version of #!! I've never been able to hear it though!
It's a long drawn out version of torture. :o
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I think I first got the White Album in 1976/77. At about the same time I was reading the book about Manson, 'Helter Skelter'. So Rev 9 always evokes this creepy vibe as the album and Manson were 'linked' in a tragic way
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I think I first got the White Album in 1976/77. At about the same time I was reading the book about Manson, 'Helter Skelter'. So Rev 9 always evokes this creepy vibe as the album and Manson were 'linked' in a tragic way
Eeeuw; I know! As a very late Beatles fan, I didn't get into the White Album until about 1990, and I read Helter Skelter shortly thereafter. The book nearly ruined the album for me, especially after reading that one of Manson's favorite song is the beautiful (to me) "I Will."
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Eeeuw; I know! As a very late Beatles fan, I didn't get into the White Album until about 1990, and I read Helter Skelter shortly thereafter. The book nearly ruined the album for me, especially after reading that one of Manson's favorite song is the beautiful (to me) "I Will."
I think I'm glad I never read that book, for a lot of reasons! I remember when that happened or else it was the trial. Whenever it was, I heard them talking about it on TV and it really frightened me.
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I've taken to listening to some musique concrete at work. I find it makes for background music that doesn't distract me from things and acts as a sound barrier to people talking etc near my office.
One thing I'd have to say. As musique concrete, Revolution 9 actually holds up pretty well against other examples in the genre.
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One thing I'd have to say. As musique concrete, Revolution 9 actually holds up pretty well against other examples in the genre.
Agree completely.
:)