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L.M. van der Schoot , en fora mei 2009

The Beatles, Instrumentals en Fora

L.M. van der Schoot

Studentnummer: 0456659. Begeleiding: Joke Dame Cursusnaam: MA Thesis Muziekwetenschap. Cursuscode: 200501202. Universiteit Utrecht; Faculteit Geesteswetenschappen; opleiding Muziekwetenschap. Datum: mei 2009.

1 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

“Anyone tackling the oft-told tale of John, Paul, George and Ringo had better come up with a new angle, or new facts, or new interviews, or new something - or risk suffering the wrath of zillions of Beatles nuts.”

Kirkus Reviews 2007, Academic Search Elite

2 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Woord vooraf Aan het begin van collegejaar 2008/2009 heb ik een cursus popmuziek gevolgd. Deze cursus had als onderwerp 'the popular '. Uit onderzoek voor deze paper kwam naar voren dat de bekendste popgroep aller tijden - The Beatles - ook instrumentale hebben geschreven. Mijn interesse was gewekt, te meer omdat ik de Beatles voornamelijk kende van nummers zoals '', 'Yesterday' en 'Strawberry Fields Forever'. Deze fameuze popgroep heeft dus eveneens andersoortige nummers geschreven. In deze thesis wil ik geen 'herziene' versie maken van informatie die al tot in den treuren is uitgeplozen. Dit is echter niet eenvoudig, maar 'instrumentale nummers' is één van de onderwerpen die als onderwerp op zichzelf, nooit onderzocht is. In de hoogtij dagen van The Beatles – de jaren 1960 – zijn er maar op 3 instrumentals terug te vinden. De bekendste is waarschijnlijk '' van de White (1968). Verder staat op het album (1967) het nummer 'Flying'. Naast deze twee instrumentals is op Yellow Submarine (1969) filmmuziek opgenomen van de gelijknamige animatie. Met de komst van de Anthology-serie1 in de jaren negentig, kunnen nog twee instrumentals worden toegevoegd aan de lijst. '', opgenomen toen The Beatles als Beat Brothers begeleiden en 'Caynne' eveneens uit hun pre-Beatle tijd. Uit bovenstaande lijst blijkt dat The Beatles niet veel instrumentale muziek hebben opgenomen. Dit wekte mijn interesse. Twee tracks van voor ze beroemd werden en twee tracks toen hun beroemdheid afnam. Hierdoor zou gezegd kunnen worden, dat de instrumentale songs ijkpunten zijn. Ze markeren de muziek die het viertal schreef voor ze beroemd waren, maar ook de muzikale ontwikkeling die ze tijdens hun hoogtijdagen hebben doorgemaakt, resulterend in 'Flying' en 'Revolution 9'.

Als mens ben ik geïnteresseerd in vernieuwing, in het ontdekken van nieuwe muziek. Hoewel muziek van The Beatles niet nieuw is in de meest concrete zin van het woord, was ze dat voor mij wel. Natuurlijk kende ik een aantal songs, met name die welke worden gerekend tot ons culturele erfgoed. Over The Beatles zelf, wist ik weinig. Dankzij deze thesis heb ik mijn horizon kunnen verbreden door een klein onderdeel van ons muzikale erfgoed te koppelen aan het meest moderne medium dat we hebben: internet. Anno 2009 hebben wetenschappers weinig interesse in het internet-medium, daar deze te vergankelijk is. Niet alleen is het mogelijk dat wat vandaag nog aanwezig is, een uur later verdwenen is. Een tweede bezwaar is dat veel gebruikers weinig geïnteresseerd zijn om hun teksten te voorzien van wetenschappelijke potentie. Hiermee wordt bedoeld dat feiten die ergens 'opgepikt' zijn, zonder bronvermelding worden neergezet, met alle gevolgen van dien. Ondanks deze bezwaren, begint het internet een steeds grotere plaats in te nemen in ons dagelijks bestaan. Tegenwoordig kunnen we niet alleen thuis, maar ook onderweg op onze telefoons toegang krijgen tot dit digitale netwerk. Zeker de jongere generatie ziet dit medium als communicatie middel bij uitstek. Op het internet kunnen we immers een eigen 'ik' creëren, waarbij de echte 'ik' buiten schot blijft. Het internet staat voor actualiteit, voor snelle reactie. Heel de wereld deelt in informatie en communicatie, waardoor we als mensheid over een grotere afstand kunnen reiken. In zekere zin kan het internet zelfs worden beschouwd als een nieuwe wereld. Het biedt immers evenveel mogelijkheden tot leren, lezen en ontdekken als de ruimte buiten ons beeldscherm.

In deze thesis ga ik proberen de vergankelijkheid van het internet te koppelen aan de 1 Deel I en II bij EMI in 1995 en 1996; deel III bij Apple in 1996.

3 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 standvastigheid van The Beatles. Met dat laatste wordt bedoeld dat zelfs anno 2009 er mensen zijn die songs van hen kennen. Zelfs al hebben ze niets met de groep zelf of met de jaren zestig.

Eindhoven, 20 februari 2009 Lotte van der Schoot

4 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Inhoud Woord vooraf...... 3 Introductie Beatles en muziek...... 8 Onderzoek...... 11 Hoofdstuk 1 Songs...... 13 Inleiding...... 13 Cat's Walk...... 13 ...... 14 Cry For a Shadow...... 15 Flying...... 16 Revolution 9...... 16 Hoofdstuk 2 Discussiethema's...... 18 Inleiding...... 18 Cat's Walk...... 19 Thema's van de fora...... 20 Cayenne...... 21 Thema's van de fora...... 23 Cry For A Shadow...... 24 Thema's van de fora...... 25 Flying...... 26 Thema's van de fora...... 28 Revolution 9...... 28 Thema's van de fora...... 29 Hoofdstuk 3 Verwerking...... 31 Inleiding...... 31 Fora...... 31 Herindeling...... 32 Categorie I meningen...... 34 Categorie II feiten...... 34 Categorie III Analyses...... 34 Categorie IV niet relevant...... 35 Categorie V grijze gebieden...... 35 Hoofdstuk 4 Conclusie...... 36 Inleiding...... 36 Categorieën...... 36 Eind conclusie...... 37 Aanbeveling voor vervolgonderzoek...... 38 Bronnen voor de forums...... 39 Cat's Walk...... 39 Cayenne...... 39 Cry For A Shadow...... 39 Flying...... 40 Revolution 9...... 40 Literatuur...... 41 Bijlagen...... 42 Inleiding...... 45 Forums Cat's Walk...... 45

5 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Forum nr.1...... 45 Forum nr.2...... 45 Forum nr.3...... 48 Forum nr.4...... 50 Forum nr.5...... 51 Forum nr.6...... 52 Forum nr.7...... 53 Forum nr.8...... 54 Forum nr.9...... 55 Forums Cayenne...... 56 Forum nr.1...... 56 Forum nr.2...... 56 Forum nr.3...... 58 Forum nr.4...... 58 Forum nr.5...... 59 Forum nr.6...... 61 Forum nr.7...... 62 Forum nr.8...... 63 Forum nr.9...... 67 Forums Cry For A Shadow...... 69 Forum nr.1...... 69 Forum nr.2...... 70 Forum nr.3...... 71 Forum nr.4...... 72 Forum nr.5...... 73 Forum nr.6...... 78 Forum nr.7...... 81 Forum nr.8...... 82 Forum nr.9...... 91 Forums Flying...... 92 Forum nr.1...... 92 Forum nr.2...... 95 Forum nr.3...... 96 Forum nr.4...... 98 Forum nr.5...... 98 Forum nr.6...... 102 Forum nr.7...... 105 Forum nr.8...... 113 Forum nr.9...... 116 Forums Revolution No.9...... 117 Forum nr.1...... 117 Forum nr.2...... 119 Forum nr.3...... 120 Forum nr.4...... 123 Forum nr.5...... 126 Forum nr.6...... 129 Forum nr.7...... 137 Forum nr.8...... 138

6 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Forum nr.9...... 141 Instrumental Discografie...... 143 Film Instrumental Discografie...... 144 Muziek...... 145

7 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Introductie Beatles en muziek

Aan het begin van de 21ste eeuw, zijn er nog twee musici van The Beatles in leven: Ringo Starr2 en Paul McCartney. Ringo3, altijd de meest stille Beatle, is uit het nieuws verdwenen. McCartney echter is nog actief als producer. In november 2008 bleek tevens dat hij het brein achter The Fireman is (het andere lid is bassist/producer Youth), een duo dat sfeervolle, elektronische muziek maakt. In die hoedanigheid was McCartney in november 2008 te gast in het BBC radioprogramma Front Row, waar hij werd geïnterviewd4 over The Fireman en hun recente cd Electric Arguments. McCartney deed in dit programma een bijzondere onthulling: hij bevestigde het bestaan van een inmiddels mythisch instrumentaal nummer van The Beatles. McCartney vertelde dat de nooit vrijgegeven is, omdat zijn mede-Beatles het te 'avontuurlijk' vonden.5 Over dit nummer - een instrumentele collage van veertien minuten met de naam '' - bestonden enkel geruchten. Het zou exclusief zijn opgenomen voor het elektronisch festival 'Million Volt Light and Sound ' in het Roundhouse Theatre in Camden, (noord) Londen. , vriend van McCartney en mede-organisator van het festival, zou McCartney om een muzikale bijdrage hebben gevraagd en deze zou aan het verzoek hebben voldaan door samen met de andere Beatles op 5 januari 1967 ‘Carnival of Light’ op te nemen tijdens een sessie voor '' (The Beatles / White Album, 1968).6 '“I [Paul] said all I want you to do is just wander around all the stuff, bang it, shout, play it, it doesn't need to make any sense. Hit a drum then wander on to the , hit a few notes, just wander around. So that's what we did and then put a bit of an echo on it. It's very free.”7 Het nummer zou één keer gedraaid zijn en daarna verdwenen in McCartney’s archief. Pas als en de erfgenamen van de andere Beatles toestemming hebben gegeven, kan het nummer alsnog worden uitgegeven. Inmiddels zijn van 'Carnival of light' fragmenten terug te vinden op het internet8. De vraag is hoe betrouwbaar deze fragmenten zijn, daar McCartney's omschrijving van hoe het nummer tot stand gekomen is, niet herkenbaar is in het eerste fragment. Een ander fragment9 heeft de gitaarklanken opgenomen in reverse-mode. Dit fragment komt al dichterbij de omschrijving die McCartney aan het nummer gaf. Inspiratie voor het nummer zou afkomstig zijn van Cage en Stockhausen, twee avant- gardistische componisten uit de 20e eeuw. auteur van Complete Beatles Recording Sessions, hoorde 'Carnival of Light' in 1987 en beschrijft het als volgt: “distorted, hypnotic drum and organ sounds, a distorted lead guitar, the sound of a church organ, various effects and, perhaps most intimidating of all, Lennon and McCartney screaming and bawling random phrases including 'Are you all right?' and 'Barcelona!'”.10

2 Geboren als Richard Starkey. 3 Normaal gesproken, worden artiesten bij hun achternaam vermeld. Bij Ringo Starr is dit echter niet het geval. Een conventie die in de loop der jaren het volgende rijtje opgeleverd heeft: Lennon, McCartney, Ringo en . 4 Het interview vond plaats op 20 november 2008, met als presentator John Wilson. www.bbc.co.uk (geraadpleegd in december 2008). 5 Anoniem. '“Mythical” Beatles song confirmed' news.bbc.co.uk (geraadpleegd 7 december 2008). 6 Thorpe, Venessa. 'Forty years on, McCartney wants the world to hear 'lost' Beatles epic' www.guardian.co.uk (geraadpleegd op 29 december 2008). 7 Anoniem. '“Mythical” Beatles song confirmed' news.bbc.co.uk (geraadpleegd 7 december 2008). 8 Anoniem. The Beatles Carnival of Light; web.me.com/weblogamorf/Site/Home/Artikelen/2008/11/22_The_Beatles_-_Carnival_of_Light.html (geraadpleegd op 20 februari 2009). 9 Anoniem. Carnival of light fragment reversed; www.youtube.com (geraadpleegd op 20 februari 2009). 10 Thorpe, Venessa. 'Forty years on, McCartney wants the world to hear 'lost' Beatles epic' www.guardian.co.uk

8 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

McCartney's bekendmaking over het bestaan van 'Carnival of Light', richtte mijn aandacht op hun muziek. Zelf had ik weinig kennis van The Beatles en ik raakte geïnteresseerd in de mogelijkheid, dat ze niet zo voorspelbaar waren als ik dacht: Niet alleen zoetsappige liedjes met dromerige lyrics, maar ook instrumentale expressie. In de loop van mijn thesis ben ik dan ook afgestapt van mijn bovengenoemde vooroordeel. Instrumentale muziek maakt onlosmakelijk deel uit van de muziek-scene. Niet alleen als veel gecomponeerde muziek, maar ook in de vorm van trance en andere (elektronische) dansmuziek. De populariteit van instrumentale muziek – ook wel 'instrumental'11 genoemd – is terug te vinden in de danswereld, waar vooral de beat belangrijk is. Lyrics worden veel minder gebruikt. In de jaren (19)50-‘60 waren er vele instrumentalisten (bijvoorbeeld Chet Atkins, Duane Eddy, The Ventures, Bill Black, The Champs en Sandy Nelson) die hit na hit scoorden. Ook de Rock-'n'-Roll kent vele instrumentals. Instrumentale muziek bleef lang voortbestaan in een genre dat luistert naar de naam 'surf', dat vooral wordt beoefend in Zuid-Californië. Surfers hoorden in die muziek een weerklank van hun eigen sensatie wanneer ze een grote golf bereden.12 Dat is dan ook terug te horen in het genre, waar vibrerende gitaarriffs, veel volume en snelheid erg belangrijk waren.13 Een van de bekendste surfbands waren (en zijn) , die vanaf het begin van de jaren '60 tot in de jaren '70 hit na hit scoorden. Historici geven de Britse invasie van '64 aan als het einde van de instrumentale muziek als onderdeel van de mainstream in het Westen. The Beach Boys zijn tot vandaag de dag populair.14 Uiteindelijk voegen The Beach Boys ook lyrics toe aan hun songs (gevolgd door andere artiesten uit het genre). Daarmee verlaat ook de surf het instrumentalisme.

The Beatles verwerven bekendheid met hun eerste songs halverwege de jaren '60, waarbij hun nummers en vooral hun lyrics de muziekscène gaan domineren. Echter, The Beatles zijn ooit begonnen als dansband tijdens de rage. Dit genre ontstaat in de jaren '20 in Amerika en is een samensmelting van blues, folk, country en jazz.15 In de jaren '50 (samen met de muziek van Elivs Presley, Bill Haley en Little Richard) over naar Groot-Brittannië om een achttien maanden durende rage te vormen.16 Daar werd het opgepikt door professionele musici om de jazz weer nieuw leven in te blazen. De definitieve doorbraak van skiffle is in '56 met het nummer 'Rock Island Line' van Lonnie Donegan. Er ontstonden talloze bandjes met selfmade artiesten. Weinig van hen waren professioneel, laat staan dat ze onderricht hadden genoten op het instrument dat ze bespeelden. Het voordeel van skiffle was dat 'elke idioot het kon spelen'.17 Zoals Philip Norman het verwoorde: “You played it on cheap acoustic guitars, augmented by one-string tea-chest basses, comb-and- lavatory-paper kazoos and kitchen washboards frantically scrubbed by fingers encased in steel thimbles”.18 Skiffle was uitermate geschikt voor elke amateur die zelf muziek wilde maken. De nummers waren eenvoudig van opzet en muzikale training was niet vereist: dit was een van de eerste genres met toegankelijke 'doe-het-zelf'-esthetiek. “Without skiffle we might not have had the hugely inventive and successful British pop of a decade later. The Beatles, , and virtually every other 1960s super group started out in skiffle's tea-chest and washboard

(geraadpleegd op 29 december 2008). 11 Het Nederlandse woord dat het dichtst bij 'Instrumental' komt is 'Instrumentaaltje'. 12 Morris, Chris. 'Surf's up as new instrumental acts worldwide catch the wave'. Billboard; 4/23/94, Vol. 106 Issue 17. 13 Morris, Chris. 'Surf's up as new instrumental acts worldwide catch the wave'. Billboard; 4/23/94, Vol. 106 Issue 17. 14 Anoniem 'The Beach Boys timeline' www.thebeachboys.com (geraadpleegd op 22 december 2008). 15 Geraghty, Ivor. 'Van Morrison, Lonnie Donegan, Chris Barber: `The Skiffle Sessions--Live in Belfast'.' World of Hibernia; Spring 2000, Vol. 5 Issue 4, p160. 16 Norman, Philip. Washboard world. 17 Davies 2002, p.65. 18 Norman, Philip. Washboard world.

9 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 brigade.”19 De volgende stap die The Beatles maakten was optreden in in clubs. Daar speelden ze uren achter elkaar dansmuziek, waarbij ze overeind bleven met LSD. Hamburg was voor hen de eerste stap naar beroemdheid, omdat Tony Sheridan (toen een bekende singer- ), The Beatles gebruikte – onder de naam Beat Brothers – als achtergrond voor de lp .20 Tijdens de sessies met Tony Sheridan, namen ze 'Cry For A Shadow' en 'Ain't She Sweet' op. Hiermee is 'Cry For A Shadow' de eerste instrumental die opgenomen en uitgebracht is. Uit deze tijd stammen nog twee instrumentals: 'Cat's Walk' (voornamelijk uitgebracht op bootlegs en als bonustrack op de lp Meet The Beatles) en 'Cayenne' (Uitgebracht op Anthology I). Tijdens ('64-'69) wordt song na song uitgebracht, waaronder maar een enkele instrumental. In de archieven op zijn echter veel tapes met instrumentale jam-sessies bewaard gebleven. Door de jaren heen bleven The Beatles instrumentale muziek maken, hoewel dat niet terug te horen is op de albums. De bekendste instrumental die wel opgenomen is op een album, is 'Revolution 9'. Niet doordat dit nummer voldeed aan de standaard indeling met chorus en verses, maar juist doordat deze er zo uitsprong. Het nummer is opgebouwd met fragmenten die voor veel luisteraars als ongeordend en warrig zullen klinken. Het is een van de moeilijker te plaatsen instrumentals, door het gebrek aan referentie punten die in de populaire muziek-scene normaal zijn. Veel luisteraars zullen daarom niet geweten hebben wat ze van de soundcollage moesten denken. Dat deze instrumental geaccepteerd werd, laat zien hoe belangrijk de rol van The Beatles was in de muziek-scene. Vandaag de dag bestaan er talloze verhandelingen over The Beatles die hebben bijgedragen aan het mythologiseren van deze popgroep. Zo zouden zij bijvoorbeeld populair zijn geworden in Amerika, omdat de Amerikanen op zoek waren naar iets dat hen zou kunnen troosten voor de moord op John F. Kennedy.21 Niet iedereen ziet dat als reden voor het populair worden van The Beatles. Een andere visie is dat ze zich presenteerden als groep en niet, zoals toen gebruikelijk was, als solist met begeleiding (zoals 'Bill Haley and his Comets').22 De derde optie is de unieke sound die ze produceerden.23 Beatles muziek is herkenbaar. Belangrijkste herkenningspunten in deze muziek zijn de zang en de tekst. Daarbij valt onderscheid te maken tussen de manier van zingen van en Paul McCartney. Lennon zingt zoals hij praat, eenvoudig en met weinig versiering. McCartney's melodieën zijn al gecompliceerder, maar ook daar staat de eenvoud voorop. De achtergrond is minder eenvoudig van opzet. Niet alleen klinken er twee gitaren, een basgitaar en drums, maar zijn er tevens andere instrumenten te horen, van een mondharmonica tot een heel orkest. Behalve dat ze instrumenten inzetten die meer tot de gecomponeerde muziekwereld behoren, waren ze ook een van de eersten die open(lijker) seks en aanverwante zaken betrokken in hun muziek. Muzikale frases hadden in de jaren '50 een ruwe boogvorm, net zoals we spreken: pratend naar de punt toe. The Beatles lieten deze manier van zingen los. Veel van hun muzikale zinnen volgen het patroon van

19 Norman, Philip. Washboard world. 20 Tony Sheridan and the Beat Brother: My Bonnie (1962); Polydor. Bron: Offical site of Tony Sheridan. Discography; www.tony-sheridan.de/start/en_startframe.html (Geraadpleegd 11 februari 2009). 21 Anoniem, 'The Beatles', www.megaessays.com; (geraadpleegd 11 februari 2009). 22 Unterberger, Richie. 'The Beatles Biography', www.allmusic.com. (geraadpleegd 12 januari 2009). 23 Unterberger, Richie. 'The Beatles Biography', www.allmusic.com. (geraadpleegd 12 januari 2009).

10 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 een vraag, stijgend naar het einde toe. Door deze inslag krijgen hun nummers een vrolijker karakter. Inspiratie kon van alle kanten komen. McCartney luisterde bijvoorbeeld naar avant-garde muziek van ondermeer Cage en Stockhausen, terwijl Harrison weer naar Indiase muziek luisterde. Naast persoonlijke voorkeuren, kwam veel inspiratie uit de media. Wanneer The Beatles niet in de studio waren, werden ze omgeven door informatiebronnen: kranten, tijdschriften en het geluid van de radio en de televisie.24 De invloed van de media is zo groot, dat een toevallige uitzending van Shakespeare's King Lear werd verwerkt in het coda van '' (Magical Mystery Tour, 1967). Na vier en een halve minuut bizarre teksten, eindigt het nummer met Gloucesters vraag “What, is he dead?” en Edgars antwoordt: “Sit you down, father; rest you”.25 De vluchtigheid van de media, het steeds willen horen en zien van iets nieuws, is tevens terug te vinden in de manier waarop The Beatles te werk gingen. Er werd geen tijd genomen om iets in de diepte te onderzoeken. John Lennon bijvoorbeeld kon een heel scala aan instrumenten bespelen, maar nooit op een niveau hoger dan 'redelijk'. Lennon zag 'muziek maken' in direct verband staan met 'gewoon uitproberen'. Zijn rauwe ongecontroleerde manier van spelen was voor hem de hoogste vorm van creativiteit.26 Ook de andere Beatles leerden instrumenten bespelen met vallen en opstaan. Lessen nemen om de instrumenten te leren bespelen zou hun creativiteit alleen maar in de weg zitten, omdat ze dan wisten hoe het 'theoretisch gezien zou moeten'.27

Onderzoek

Sinds de komst van internet is het uitwisselen van informatie eenvoudiger geworden. Dat niet alleen, informatie verandert ook sneller van waarde. Wat gisteren nog onbekend was, kan vandaag wereld nieuws zijn. Internet is het medium geworden waar de actuele status van beleving het best te meten is. Dit geldt tevens voor muziek. De perceptie van het publiek bepaaldt de populariteit van een song. Dat deze populariteit met rasse schreden af of toe kan nemen, is te danken aan het internet. Het internet biedt eveneens een mogelijkheid voor veel fans om te kunnen praten over deze muziek. Via forums kan kennis worden uitgewisseld met anderen. Internet is een medium dat vele mogelijkheden biedt. Ondanks dat The Beatles zelf al behoren tot ons cultureel erfgoed, kan via internet de actuele status van deze groep worden bepaald. Zeker de instrumentals die geen deel hebben uitgemaakt van de canon, kunnen hier eenvoudig onderzocht worden. De vraagstelling luidt als volgt: “Wat zijn de thema's over de instrumentale muziek van The Beatles die uitgebracht zijn op originele lp en op de Anthology-serie in de

24 McDonal 1994, p.21. 25 Kozinn 1995, p.167. 26 McDonald 1994, p.19. 27 McDonald 1994, p.9.

11 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 zoekmachine Google?” Hiervoor zullen de loggings van Google worden onderzocht op forum- en bloghits. Naast de hoofdvraag zijn er een aantal deelvragen, waarbij actualiteit centraal staat: leven deze instumentals nog op het internet? Wat is het niveau waarop de gemiddelde internetgebruiker over deze songs praat? Google vindt niet alleen bruikbare entries, er zullen tevens veel niet relevante forums tussen zitten. Criteria voor het aanvaarden van een forum voor deze thesis is dat de titel van de instrumental wordt genoemd in relatie tot The Beatles, als track en niet uit zijn context wordt gehaald. De titel 'Flying' draait om de song zoals hij op het album Magical Mystery Tour staat en niet over vliegen in het algemeen. Uit de hoeveelheid links van Google, zijn de eerste negen hits geselecteerd, omdat de actualiteit niet gebaat is bij het zoeken naar loggings in de krochten van Google. Instrumentaal heeft verschillende gradaties: nummers waar totaal geen tekst in voorkomt en waar wel tekst in voorkomt. Bij de laatste versie is het belangrijk dat de gebruikte tekst geen verhaal vormt. De herhaling van de titel in 'Revolution 9' wordt daarom niet gezien als lyric, omdat deze geen verhaal vormt. Om dezelfde reden is het geluid van niet verstaanbare stemmen, neuriën en 'lalala' tevens niet geclassificeerd als lyrics. Voordat 'Carnival of Light' uitgebracht kan worden, moeten alle rechthebbenden toestemming verlenen. Aangezien dat de afgelopen 35 jaar nog niet gelukt is, zal deze instrumental buiten beschouwing worden gelaten, net als de vele filmmuziek, omdat deze niet vallen onder de noemer 'uitgebracht op een originele lp'. Wel wordt 'Cat's Walk' behandeld, een van de songs die met name is terug te vinden op bootlegs, de pre-Beatles nummers 'Cayenne' en 'Cry For A Shadow' en de twee bekendste instrumentals 'Revolution 9' en 'Flying'. Zowel 'Cayenne' als 'Cry for A Shadow' zijn uitgebracht op de Anthology serie van EMI/Apple28. Naast de twee eerder genoemde songs, staat er nog een derde instrumental op: '' (Anthology II). Dat nummer bestaat in verschillende versies met en zonder lyrics. De versie die op Anthology II staat is instrumentaal, maar de vocale versie is muzikaal gezien exact hetzelfde. Deze instrumental wordt daarom buiten beschouwing gelaten. Voordat The Beatles hun intrede deden, waren instrumentalisten een belangrijk onderdeel van de populaire muziekscène. De instrumentals van The Beatles daarentegen, worden nauwelijks opgemerkt. De gemiddelde internetgebruiker zal 'Flying' en 'Revolution 9' wel herkennen, maar de andere drie 'Cat's Walk', 'Cayenne' en 'Cry For A Shadow' zullen veel minder bekend zijn.

De gebruikte citaten afkomstig uit de fora, zijn niet gecorrigeerd. Net als de bijlagen. Spelfouten zijn afkomstig van de deelnemers.

28 De eerste twee Anthologies zijn uitgebracht door EMI in '95 en '96, de derde Anthology is uitgebracht door Apple eveneens in '96.

12 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Hoofdstuk 1 Songs

Inleiding In dit eerste hoofdstuk zullen de vijf songs die voldoen aan de criteria gesteld in de introductie, nader worden uitgelicht. Van deze nummers is in de wetenschappelijke literatuur van alles bekend, waarbij hier geen opsomming volgt. In tegendeel. Dit hoofdstuk is een aanvulling voor degenen die weinig directe kennis hebben van deze songs. Deze songs kunnen immers niet worden gerekend tot de populaire nummers van The Beatles

Cat's Walk Deze instrumental is bekend onder meerdere namen. De verwarring begint al bij de oorspronkelijke naam die The Beatles zouden hebben gebruikt: 'Cat Walk', 'Cat's Walk' of 'Catswalk'. Op het internet zijn alle drie de versies terug te vinden, wat het lastig maakt om een keuze te vormen. Daarnaast is het nummer tevens te vinden als 'Cat Call' of 'Cat-Call'. McCartney, de schrijver van deze song, heeft hem waarschijnlijk 'Cat's Walk' genoemd toen het nummer nog op het repertoire van The Beatles stond. Er is een oorspronkelijke opname van deze instrumental in omloop als bootleg. Voornamelijk omdat het nummer is opgenomen tijdens een repetitie in te , hun thuishaven. Naast verscheidene bootlegs is er één 'gewoon' album te vinden waar 'Cat's Walk' opstaat: Meet The Beatles (1964). Nu bestaan er twee versies van dit 'introductie' album – het was niet het eerste album dat ze gereleased hebben, dat was (1963) – en 'Cat's Walk' staat op de versie die elf bonus-tracks bevat.29 Op internet is een Amerikaanse en een Russische versie te vinden, die daar zijn uitgebracht als 'kennismakingsalbum'.30 Het bekendste bootleg-album waar 'Cat's Walk' (onder de titel 'Cat Call') is opgenomen heet Hello, Goodbye: Songs The Beatles Gave Away. Dit album heeft een opname van de Chris Barber Band31 aan wie McCartney de song gegeven heeft. McCartney heeft als achtergrond-vocalist nog bijgedragen aan de opname voor de oorspronkelijke single Cat Call / Mercy, Mercy, Mercy (1967).32 The Beatles hebben een poging gedaan om het nummer alsnog op te nemen in hun repertoire. Oorspronkelijk zou de instrumental deel uit maken van de Magical Mystery Tour die toen nog de naam The Alternate Magical Submarine Tour zou hebben. In de lijst met songs staat 'Cat Call' er twee keer in, ook de versie van de Chris Barber Band wordt genoemd.33 Op een andere site wordt het nummer 'Shirley's Wild Accordeon' (Magical Mystery Tour de film, 1967) de naam 'Cat Call' gegeven34, de vraag is waar deze link op is gebaseerd. 29 'Lucille', 'Sure To Fall', 'That's Alright Mama', 'The Honeymoon Song', 'I'm Gonna Sit Right Down And Cry Over You', 'Lonesome Tears In My Eyes', 'So How Come', 'I Got A Woman', 'Don't Ever Change', 'Cat's Walk' en 'I Forgot To Remember To Forget'. Anoniem The Beatles Introducing.... / Meet The Beatles; www.discogs.com/release/1515866 (geraadpleegd 20 januari 2009). 30 Swan. The Beatles Introducing /Meet The Beatles w-11 bonus tracks; www.amazon.com (geraadpleegd 20 januari 2009). 31 Op de bijgevoegde CD staat de versie van Chris Barber, omdat The Beatles versie bijna onmogelijk te achterhalen is, maar voor de geïnteresseerde hij staat wel op YouTube: http://www.youtube.com/watch?v=KxeKGXvgfv8. 32 Anoniem. Chris Barber; rateyourmusic.com (Geraadpleegd 20 januari 2009). 33 Graham Calkin's Beatles Pages. The Alternate Magical Submarine Tour; www.jpgr.co.uk (Geraadpleegd 19 janurai 2009). 34 Arsip Harian. Original Song Titles; tatabeatles.wordpress.com (Geraadpleegd 19 januari 2009).

13 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Cayenne 'Cayenne'35 is opgenomen in 1960 in McCartney's huis te Liverpool36 en als een van de eerste nummers toegeschreven aan 'Lennon/McCartney'.37 In de tijd van de opnames hadden The Beatles weinig optredens, maar namen ze veel demo's op en schreven ze nieuwe songs. 'Cayenne' is niet de enige song uit deze periode die is opgenomen op Anthology I. In wat nu wordt genoemd The Forthlin Road Sessies38 zijn 'Hallelujah, I Her So' en 'You'll Be Mine' eveneens opgenomen. Op Anthology I is 'Cayenne' ingekort door middel van een fade out. Het originele nummer duurt geen 1'14'', maar 2'30'' en is te vinden op de 'Quarrymen tapes' en op bootlegs. 'Cayenne' verscheen voor het eerst op de bootleg-lp Liverpool May 1960 (uitgebracht in 1987) en droeg toen de naam 'Thinking Of Linking'. Daarna verscheen 'Cayenne' op de bootleg at Home (1988). De versie op de bootlegs en die van de Anthology lijken erg veel op elkaar en wijken af van de originelen, alsof de bootlegs zijn opgepoetst om gebruikt te worden op de Anthology.39 Voor dit nummer werd inspiratie opgedaan bij . Deze instrumentale band is populair geworden als de achtergrondgroep van , maar ging vanaf 1959 ook zonder Richard opnemen. De meest bekende 'solo'-single van The Shadows is 'Apache' (1960). Thorogood meldt het volgende over The Shadows: “With almost completely arranged music and neat, matching mohair suits, they both inspired a generation of British and caused them to react against neatness.”40 The Shadows waren in die tijd de meest bekende instrumentale band en als zodanig een inspiratie. The Beatles woonden zelfs uitvoeringen bij en werkten aan een 'Shadow-imitatie' om die als act te gebruiken in Hamburg. Lennon deed gitarist Hank Marvin na als de 'idioot' van de show. McCartney had de rol van gitarist Bruce Welch op zich genomen en stond daar voornamelijk 'mooi' te zijn. Het enige verschil tussen The Beatles-imitatie en Cliffs manier van optreden was dat The Beatles tussen de nummers geen praatje hielden. The Beatles waren daar niet in geïnteresseerd en lieten het publiek liever gewoon door gillen, nummer na nummer spelend. Toen de populariteit van The Beatles groeide, bleef de vriendschap tussen hen, Cliff Richard en The Shadows, bestaan.41 'Cayenne' is naast 'Being For The Benefit Of Mister Kite', 'Not Guilty' en 'Don't Bother Me' een van de weinige songs die volledig in mineur staan. Deze nummers zijn de uitzondering in het immense Beatlesrepertoire. De bridge dient als contrast, vaak wordt hier de muzikale herhalingen onderbroken om een nieuw muzikaal-idioom te geven. Om dit te versterken wordt de bridge vaak in een andere toonsoort gezet. Meestal wordt, wanneer het nummer bijvoorbeeld in majeur staat, de bridge in een mineur toonsoort geplaatst; zijn de verse en het chorus in mineur, dan is de bridge in majeur. Vaak 'werkt' deze verandering om het nummer extra zeggingskracht te geven.42 Pedler noemt dit idioom 'een van de belangrijkste songwriting secrects van The Beatles'.43

35 Recorded: spring/summer, 1960 at Paul McCartney's house, Liverpool, England. John Lennon - ; Paul McCartney – guitar; George Harrison - lead guitar; Stuart Sutcliffe - bass guitar. Bron: anoniem. 'Cayenne', www.dmbeatles.com (geraadpleegd op 12 januari 2009). 36 Het huis stond aan de Forthlin Road in Liverpool. 37 Anoniem. Cayenne. www.beatles-discography.com (laatst geraadpleegd 6 januari 2009). 38 Anoniem. Cayenne. www.beatlesbible.com (laatst geraadpleegd 6 januari 2009). 39 Brennan, Joseph. The Usenet Guide to Beatles Recording Variations. www.columbia.edu/~brennan. (laatst geraadpleegd 7 januari 2009). 40 Thorogood. Cliff Richard and The Shadows; www.menziesera.com (laatst geraadpleegd op 8 januari 2009). 41 Parfitt. Cliff and The Beatles, Influece; www.cliffchartsite.co.uk (laatst geraadpleegd op 8 januari 2009). 42 Pedler 2003, p.152. 43 Pedler 2003, p.152.

14 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Cry For a Shadow 'Cry For A Shadow'44 is het enige nummer dat geschreven is in een teamverband van Lennon en Harrison. Het nummer is opgenomen in 1961 tijdens een van de sessies met Tony Sheridan, samen met een versie van 'Ain't She Sweet'.45 De eerste release van het nummer is de Franse EP Mr Twist, waarbij het nummer wordt toegeschreven aan Tony Sheridan die geen muzikale deelname heeft aan 'Cry For A Shadow'.46 Vreemd is dat er op het web lyrics zijn te vinden van dit nummer. De tekst gaat als volgt:47 Cry for a shadow There's no one here I am alone All alone Help me Cry for a shadow.

I have fallen For a final time I am alone Deze lyrics komen uit het niets, want op geen van de opnames (niet op de Anthology I of op het web) zijn deze woorden terug te vinden. Er bestaat naast de versie van The Beatles tevens een andere versie van Pansy Division / Beat Happening die veelvuldig te bewonderen is, een vocale song met lyrics48 en erg populair op lyricsites. Behalve de titel is er geen directe link te vinden tussen het nummer van Pansy Division en The Beatles. Dat The Shadows ook op dit nummer invloed hebben uitgeoefend is duidelijk te horen. Lennon speelt de akkoorden, McCartney de bas, Pete Best49 drumt hier nog en Harrison speelt de melodie. De melodie wordt gekenmerkt door trage overgangen in de verse en de fellere manier van spelen in de bridge.50 Bij 'Cayenne' werd aangegeven (zie noot 36) dat The Beatles en The Shadows nog vrienden waren, Kozinn weerspreekt dit echter in zijn boek The Beatles51, waarin hij op de volgende manier over de de kopieer actie van The Beatles praat:

[The song] does not show it, except to the extent that its wildness and energy reveals the typical Shadows' instrumental as sterile and contrived. Lennon's guitar churns out the chords, McCartney provides a characteristically active bass line, Best drums along speedily, and Harrison plays a lead guitar line in which the lazily bending notes of the verse melody are contrasted against the more fiery twists of the song's ridge.

44 Recorded: June 22, 1961 at Friedrich-Eberts-Halle, Hamburg, Germany. John Lennon - rhythm guitar; Paul McCartney - bass guitar; George Harrison - lead guitar; – drums; Karl Hinze – engineer Bron: anoniem. ''Cry For a Shodow', www.dmbeatles.com (geraadpleegd op 12 januari 2009). 45 Kozinn 1995, p.41-42. 46 Brennan, Joseph. The Usenet Guide to Beatles Recording Variations. www.columbia.edu/~brennan. (laatst geraadpleegd 7 januari 2009). 47 Er is één bron: www.tsrocks.com (laatst geraadpleegd op 29 december 2008). 48 Anoniem. Pansy Divison Cry For A Shadow Lyrics. www.musicsonglyrics.com (laatst geraadpleegd op 9 januari 2009). 49 Pete Best is de man die als eerste drummer – voor Ringo – deel uitmaakte van The Beatles. Hij is echter op brute wijze uit de groep gezet en vervangen door Ringo. Dit alles vond plaatst voordat Beatlemania helemaal van de grond gekomen was. 50 Kozinn 1995, p.41-42. 51 Kozinn 1995, p.41.

15 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Flying Hoewel er weinig bewijs voor is, valt uit verscheidene tapes op te maken dat The Beatles graag jam-sessies organiseerden. In deze sessies improviseerden ze vooral met instrumentale muziek. Hiervoor werd een simpele akkoord-progressie gebruikt, meestal in de vorm van een bluesschema.52 Uit die jam-sessies is bijvoorbeeld 'Cayenne' ontstaan. 'Cry For A Shadow' en 'Cat's Walk' zijn latere instrumentals die bewaard blijven. Lange tijd produceren The Beatles geen instrumentals meer, in ieder geval brengen ze er geen uit. Sessie-tapes van Abbey Road staan vol met jam-sessies, maar geen van deze sessies levert een instrumental op die wordt uitgebracht. 'Flying' (Magical Mystery Tour, 1967) is de eerstvolgende instrumental die wordt gereleased.53 'Flying'54 is eenvoudig van opzet. Het start met een intro, waarna twee keer een verse komt, om te eindigen met een outro. 'Flying' is een blues met Indiase melisma's erin verwerkt. Daarnaast is overduidelijk het geluid van een te horen.55 Vergeleken met andere nummers is 'Flying' primitief: geen toonsoort-wisselingen en weinig ontwikkeling binnen het nummer zelf.56 Die primitiviteit zou de uitkomst kunnen zijn van het feit dat deze song rigoureuze aanpassingen heeft ondergaan. Het oorspronkelijk opgenomen nummer duurde ongeveer tien minuten en eindigde met jazzmuziek. De jazzmuziek werd verwijderd om 'Flying' in te korten tot ruim twee minuten, waarna het een taak kreeg als albumvulling.57 'Flying' wordt toegeschreven aan alle vier de Beatles, een uitzondering.58 De originele titel was 'Aerial Tour Instrumental' en het nummer is opgenomen tussen twee 'shooting'-dagen voor de film Magical Mystery Tour.

Revolution 9 'Revolution 9'59 wordt door velen afgedaan als 'troep' terwijl anderen het de hemel in prijzen. In het nummer valt weinig melodie te ontdekken, wat veel mensen vaak als onacceptabel ervaren. Daarnaast hebben niet alle vier de Beatles meegewerkt aan het nummer hoewel ook dit nummer 'Lennon-McCartney' credits kreeg. Alleen Harrison heeft bij een van de sessies geholpen. Lennon is samen met , waar hij later mee getrouwd is, het brein achter deze collage. Yoko Ono maakte deel uit van de rebelse stroming 'Situationisten'. Deze stroming probeerde de mensen wakker te schudden en te voorkomen dat ze in apathie vervielen. 'Revolution 9' kan worden gezien als de vaandel van deze groepering. Of dit ook de bedoeling was van Lennon, is nog maar de vraag. McDonald denkt van niet: “To the extent that Lennon conceptualized the piece at all, it must have been as a sensory attack on the citadel of the intellect: a revolution in the head aimed, as he stressed at the time, at each individual listener – and not an incitement to social confrontation, still less a call for general

52 Pollack. Notes on Flying. oldies.about.com (geraadpleegd op 27 december 2008). 53 Pollack. Notes on Flying. oldies.about.com (geraadpleegd op 27 december 2008). 54 Recorded: September 8, 1967 at Abbey Road, London, England with overdubs added September 28, 1967. John Lennon - mellotron, chanting, at end; Paul McCartney - guitars, chanting; George Harrison - guitars, chanting; Ringo Starr - drums, maracas, chanting, tape loop at end. Bron: anoniem. 'Flying', www.dmbeatles.com (geraadpleegd op 12 januari 2009). 55 McDonald 1994, p.217. 56 Pollack. Notes on Flying. oldies.about.com (geraadpleegd op 27 december 2008). 57 Miles & Badman 2001, p.286. 58 Kozinn 1995, p.42. 59 Recorded: May 30, 1968 at Abbey Road, London, England with effects added June 6, 10, 11, 20 and 21, 1968. John Lennon - voice, tape loops; Paul McCartney - piano (at the beginning); George Harrison – voice; Ringo Starr – voice. Bron: anoniem. 'Revolution 9', www.dmbeatles.com (geraadpleegd op 12 januari 2009).

16 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 anarchy”.60 'Revolution 9' is een van de meest typische Lennonnummers. In deze song is de meest rauwe creativiteit van Lennon terug te vinden. De enorme aanwas van informatie waar (alle vier) The Beatles aan werden blootgesteld is door Lennon samengevat in 'Revolution 9'. Volgens McDonald gaat 'Revolution 9' over de tegencultuur van de jaren '60:61

On one level, REVOLUTION 9 is another Lennonian evocation of the domain between sleeping and walking, its wavelength-wandering radio-babble resembling the sound an infant might have apprehended in a suburban garden during a typical post-war summer. On another, it is a sarcastic homage to cliché so impartially targeted that even its fade – on the (backwards) sound of chanting crowds - becomes ambiguous, if not actively ironic. The common factor is consciousness itself; indeed, if REVOLUITON 9 can be said to be about any one thing it would be the abiding concern of the Sixties counterculture: quality of awareness. ‘Do not adjust your brain, there is a fault in reality’, ran a hippie slogan of the time. REVOLUTION 9 restates that slogan in sound.

De avant-garde ziet 'Revolution 9' als een van de best verkochte composities van de artiesten die dit soort muziek verkenden. Het feit dat binnen een week na de release van het album The Beatles (1968) miljoenen mensen het nummer in huis hadden, maakt 'Revolution 9' het meest verkochte avant-gardistische nummer. Dat er maar weinig mensen zijn die er meer dan één keer naar luisteren, maakt niet uit. Avant-gardistische muziek wordt niet gemaakt om naar te luisteren, maar om creativiteit te kunnen uiten. Vreemd is de link naar avant-garde niet. Lennon zou namelijk beïnvloed zijn door een andere soundcollage: (1967) van Stockhausen.62 Hoewel 'Revolution 9' wordt geclaimd door de avant-garde en de situationisten, is het meer een song geïnspireerd door Lennon zelf. Daardoor is deze song net zo goed een aanval op de avant-garde muziek, als op andere popmuziek.63 Kozinn verbindt in zijn boek The Beatles de drie 'Revolutions' met elkaar, waarbij één zin centraal staat: 'We all want to change the world. But when you talk about destruction, don't you know that you can count me out.' In 'Revolution I' (The Beatles, 1968) – de eerste van de trilogie – twijfelt Lennon nog of hij mee wil doen: 'count me out – in'. In 'Revolution' (uitgebracht op single, 1970) weet hij zeker dat het 'count me out' moet zijn, hoewel de muziek zelf steeds meer neigt naar destructie. In 'Revolution 9' is de muziek vervallen tot chaos en is de stem helemaal niet te horen. Hoewel Lennon niet mee wilde doen aan het geweld dat hij overal om zich heen ziet, kan hij het niet tegen houden. 'Revolution 9' is Lennons visie op hoe de samenleving in elkaar stort.64 In 'Revolution 9' is een aantal muzikale fragmenten terug te vinden: een mellotron waarvan de opname achteruit wordt gespeeld, een deel van de orkestratie van '' (Sgt Pepper's Lonely Hearts Club Band, 1967) en “miscellaneous symphonies and ”.65 Een voorbeeld van die 'miscellaneous symphonies and operas' is een loop van het laatste akkoord uit Sibelius' Zevende Symfonie.66

60 McDonald 1994, p.231. 61 McDonald 1994, p.232. 62 McDonald 1994, p.230. 63 McDonald 1994, p.234. 64 Kozinn 1995, p.178. 65 McDonald 1994, p.233. 66 McDonald 1994, p.233.

17 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Hoofdstuk 2 Discussiethema's

Inleiding Zoals aangegeven in Hoofdstuk 1, is de tracknaam 'Cat's Walk' onderhevig aan discussie. De titels ‘Cat’s Walk’ en ‘Cat Call’ geven in Google verschillende resultaten. 'Cat's Walk' is terug te vinden op verschillende sites met modellen en andere modeaanverwante sites. Daarnaast is deze combinatie terug te vinden in '' van George Harrison. De tweede titel 'Cat Call', is onderdeel van het Engelstalige vocabulaire en betekent 'lastig gevallen worden op straat op een seksueel intimiderende manier'. 'Cat Call' komt in tegenstelling tot 'Cat's Walk' wel als track terug in de links van Google. Op 20 januari 2009 vond Google 'Cat Call' circa 3.720 hits. De invoering van 'Cayenne' in Google resulteert in tientallen links over koken, daar de cayennepeper een veelgebruikt ingrediënt is. Een andere, veel voorkomende link verwijst naar de Porsche Cayenne. Dankzij deze twee verwijzingen vond Google op 6 januari 2009 circa 242.000 hits, waarvan er maar weinig daadwerkelijk bruikbaar zijn voor deze thesis. Te meer omdat veel lyric-sites wel een entry hebben voor deze song, maar verder geen discussies. Voor 'Cry For A Shadow' komen eveneens veel discussieloze lyric-sites voor. Deze titel is echter complex genoeg om weinig niet-relevante links te krijgen. Daarnaast is deze song al voor de Anthology-serie gereleased, wat bijdraagt aan de bekendheid. Google vond op 29 december 2008 circa 45.300 hits. Van de vijf songs hier behandeld heeft 'Flying' de meest diverse achtergrond. Niet alleen is dit nummer uitgevoerd in de film Magical Mystery Tour, maar het maakte tevens deel uit van de gelijknamige tour die The Beatles deden. Net als 'Cat Call' is ook 'Flying' onderdeel van het Engelse vocabulaire. In combinatie met 'Beatles' vindt Google veel links die gaan over vliegende insecten ('Beetles'). Hierdoor vond Google op 27 december 2008 circa 5.710.000 hits. 'Revolution 9' heeft net als 'Cayenne' verwijzingen naar attributen die gerelateerd zijn aan The Beatles. Zo schreef Neil McMahon in 2005 een gelijknamig boek waarbij de bad guy geloofd

18 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 in verborgen berichten in teksten van Lennon en McCartney. Naast dit boek bestaat er tevens een film, geregisseerd door Tim McCann. Deze paranoïde triller heeft Michael Risley, Adrienne Shelly en Spalding Gray in de hoofdrollen. Google vond voor deze entry op 23 december 2008, circa 14.900 hits.

Cat's Walk Forum nr.1 is in verschillende talen en via verscheidene entries te vinden op internet. De informatie is toegevoegd door één blogger, luisterend naar de (bij)naam Walrus67. Hij opent met de mededeling dat McCartney van jazz houdt. Dit beargumenteert hij door te verwijzen naar de songs 'When I'm 64' (Sgt. Pepper) en '' (White Album) en door McCartney’s vader, die jazz pianist was, erbij te halen. Naast een versie van 'Cat's Walk' van The Beatles, heeft Walrus67 tevens een muzikale link gepost naar de versie van The Chris Barber Band. 'Cat's Walk' staat bekend als een van de songs die The Beatles hebben weggegeven. In forum nr.2 komt naar voren dat veel van de weggegeven nummers beter konden worden opgenomen op (1964), in plaats van te gebruiken.68 'I Wanna Be Your Man', de eerste hit van The Rolling Stones, is eveneens geschreven door The Beatles zo blijkt uit dit forum. Forum nr.3 is gewijd aan Pete Best, drummer van The Beatles voordat Ringo Starr het team kwam versterken. De vraag aan het begin van het forum, draait om wie er nu drumt in de opnames van '', 'One After 909' en 'Cat's Walk', Ringo Starr of Pete Best.69 Het duurt even voordat de discussie op gang komt, wegens het gebrek aan geluidsmateriaal. Uiteindelijk komt er maar één antwoord op: “I did notice one of the comments about the recording. Someone says the song was written in Sept of 62 after Pete had left the group. But the PBB plays the songs that The Beatles played while Pete was still with them. I Saw Her Standing There is one of the songs the PBB play on tour. I'm assuming that Pete is saying that he played that song as a Beatle”.70 Forums nr.4, nr.5 en nr.8 gaan over de kwaliteit van de bootleg-cd Hello, Goodbye: The Songs The Beatles Gave Away. Deze informatie is erg specifiek: “The album is credited as 'various artists', but on listening to the samples, with the exception of the instrumental 'Cat Call' the artists seem to be the same on each track and, unfortunately, not very good”.71 Eén van de participanten van forum nr.5 merkt het volgende op: “More than that whats "Cat Call"? I have a book of ALL the sheet music, of the songs by Lennon-McCartney. No where is that listed nor have I ever heard of it”.72 Alleen forum nr.9 bespreekt de kwaliteit van het nummer zelf: “This is a really cool instrumental!”.73 Helaas worden er geen argumenten gegeven, waarom het zo goed zou zijn. Forum nr.674 geeft aan dat het boek The Man Who Loved Cat Dancing van Marilyn Durham inspiratie opleverde voor twee songs van The Beatles: 'Three Cool Cat's'75 en 'Cat Call'. Deze informatie is niet juist, want beide songs zijn geschreven vóór het boek in 1972 uitkwam. Het zevende forum is niet specifiek gericht op 'Cat's Walk', maar op de songs van The Beatles in het gemeen. Aan de basis van dit forum staat de volgende vraag centraal: “I personally

67 'Cat's Walk'; Forum nr.1. Gepost door Walrus. 68 'Cat's Walk'; Forum nr.2. Gepost door Toon1. 69 'Cat's Walk'; Forum nr.3. Gepost door Upsididus. 70 'Cat's Walk'; Forum nr.3. Gepost door Deanjb. 71 'Cat's Walk'; Forum nr.4, Gepost door R. A. Cross "busheyrd". 72 'Cat's Walk'; Forum nr.5. Gepost door de eerste participant. 73 'Cat's Walk'; Forum nr.9. Gepost door Jethro. 74 'Cat's Walk'; Forum nr.6. Gepost door Anoniem. 75 Origineel is dit nummer van The Coasters en gereleased als b-kant van de single Charlie Brown. The Beatles hebben het gebruikt voor hun Decca auditie in 1962.

19 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 am not crazy about The Beatles. (although i luv 'Yesterday') I think Hilary Duff rocks but I was curious how many songs did The Beatles do?”76 Als antwoord komen er lijsten met Beatles nummers, vreemd is dat maar één van die lijsten 'Cat's Walk' heeft opgenomen.

Thema's van de fora Uit bovenstaande uitwerking blijkt dat veel van de gevonden forums en blogs, weinig diepgang hebben. De meeste sites zijn opgezet via de vraag-antwoord layout, of de feiten-meningen combinatie. Het forum dat meer kennis ten toon spreidt is forum nr.1, waar degene die het gepost in gaat op Pauls voorliefde voor jazz. 'Cat's Walk' leeft nog wel op het internet, maar alleen de die-hard fans zijn bekend met dit nummer. Er is echter weinig feitelijke kennis beschikbaar. De deelnemers kennen deze song vooral van compilatie cd's zoals Hello Goodbye The Songs The Beatles Gave Away. Het analyseren, of bekritiseren van dit nummer, gaat niet dieper dan 'leuk' of 'niet leuk'. Naast forum nr.1 zijn er enkele posts die wat interessanter zijn dan de meningen in veel van de andere posts. Toon177 schrijft in zijn eerste post: “'Cat Call' van the Chris Barber Band (1967) was een nummer dat ik nog niet kende maar ik herkende het deuntje wel; de Beatles speelden het namelijk in 1962 al in de Cavern-Club onder de titel 'Cats Walk'. Opnames daarvan zijn te vinden op bootlegs (evenals demo's van verschillende van de songs op deze cd).” Daarnaast meldt een anonieme deelnemer in forum nr.578: “More than that whats "Cat Call"? I have a book of ALL the sheet music, of the songs by Lennon- McCartney. No where is that listed nor have I ever heard of it.”

De fora zijn als volgt in te delen: ≥ De kwaliteit van het nummer (Forum nr.4, 8 en 9). ≥ 'Weggegeven songs'79 van The Beatles (Forum nr.2, 4 en 5). ≥ Wie er drumt (forum nr.3). ≥ Inspiratie (forum nr.1 en 6). ≥ Het aantal songs dat The Beatles hebben geschreven (forum nr.7).

Cayenne Forum nr.1, nr.3 en nr.9 gaan over de kwaliteit van 'Cayenne'. Veel deelnemers geven als commentaar kreten zoals “Chill Instrumental”80 of “43,520 plays isn't enough!”.81 Dit soort kreten geeft weinig weer van de gedachtegang van de desbetreffende schrijver. Er is een enkele meer beargumenteerde kreet te vinden: “This is a cool little instrumental by Paul, it sounds like he was trying to make a chilled out surf song, and I personally love a guitar solo that is surfy”.82 Veel fans zullen The Beatles zien als 'geweldig' en zullen niet kunnen accepteren dat ze goede en slechte muziek hebben gemaakt. Degenen die dit onderscheid wel maken, krijgen kritiek. Sommigen proberen deze kritiek te omzeilen door te zeggen dat 'goed' en 'slecht' relatief zijn, omdat zelfs de 'slechte' nummers nog beter zijn dan songs niet geschreven door The Beatles.83 De meeste

76 'Cat's Walk'; Forum nr.7. Gepost door Dawnfire. 77 'Cat's Walk'; Forum nr.2. Gepost door Toon1. 78 'Cat's Walk'; Forum nr.5. Anoniem, laatste post. 79 Hiermee wordt bedoelt dat The Beatles de songs wel geschreven hebben, maar aan andere artiesten hebben gegeven om uit te voeren. De meeste songs hebben ze zelf nooit opgenomen, met uitzondering van 'Cat's Call'. 80 'Cayenne'; Forum nr.1. Gepost door hantzlala. 81 'Cayenne'; Forum nr.1. Gepost door Retro_Saiyan. 82 'Cayenne'; Forum nr.9. Gepost door Davey Moore. 83 JamsBio Playing The Beatles Backwards; magazine.jamsbio.com (Geraadpleegd 23 december 2008).

20 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 fans willen hier echter niets van weten en verheerlijken The Beatles. Zo ook iLoveClassisTV 84 die vindt dat “only a greater being could create such wonderful music”. Waar anderen grif mee instemmen: “indeed!!!!! they are the greatest band that ever walked the planet”85. Ook Peter Xuereb is deze mening toegedaan. In zijn recensie op Amazon.com van Anthology I start hij met het uitleggen waarom dit album toch blijk geeft van de superioriteit van The Beatles, ondanks de slechte kwaliteit.86 Xuereb is niet de enige die een recensie heeft geplaatst. Uit al de recensies blijkt dat er meer kennis beschikbaar is over wie op de track speelde. Het gebrek aan zichtbare kennis in andere posts lijkt er op te duiden dat maar weinig geïnteresseerd zijn in deze kennis. Eén van de discussianten geeft echter wel blijk van kennis: “Cool! It's fun to hear something with Stuart Sutcliffe”.87 Blijkbaar is er toch meer informatie bekend dan zo op het eerste gezicht lijkt. Stuart of speelde basgitaar voordat hij de band verliet om verder te studeren (hij overleed enkele jaren later). McCartney speelde in die tijd nog gewoon gitaar, om na Stu's vertrek over te stappen op basgitaar. Daarnaast is dit de enige bekende opname gemaakt met Sutcliffe. Bijna terloops wordt de kreet “Sergeant Cayenne Pepper. Above the best Beatles' instrumental”88 geuit tijdens de discussies over de kwaliteit. Op de eerste Anthology staat alleen 'Cayenne' vermeld. Een andere deelnemer in dat forum meldt: “The correct title is 'cayenne pepper'”.89 Waar komen deze titeltoevoegingen vandaan? De cayennepeper is zoals eerder vermeld, een bekende peper en de titel zou hiervan afgeleid kunnen zijn. Waar 'Sergeant' vandaan komt is moeilijker te definiëren. Misschien dat de participant 'pepper' koppelde aan het album Sgt. Pepper's Loneley Hearts Club Band. Een vreemde combinatie daar 'Cayenne' uit de vroege periode van The Beatles komt, en Sgt. Pepper uit de late. Forum nr.6 is een recensie van de eerste Anthology. Hierin komt 'Cayenne' aan de orde als onderdeel van de tracklist. Dit forum draait dan niet specifiek om dit nummer. Forum nr.7 is de entry van 'Cayenne' in Wikipedia. Zeker de Engelstalige versie van deze online encyclopedie maakt veel gebruik van referenties en verwijzingen. Hoewel de entry voor dit nummer niet uitgebreid is, vat het wel de bekende informatie samen. In forum nr.8 komt 'Cayenne' voor, maar deze forums zijn niet specifiek aan The Beatles gerelateerd. Een opmerkelijke post in dit forum is afkomstig van Michael Kimsal die tijdens een discussie over downloaden en de rechtszaken die tegen illegale downloadsites zijn aangespannen, ineens dit meldt: “I’m probably one of the most rabid Beatles fans out here, and ‘Cayenne’ is too much for even me! That’s beyond eclectic into madness!”90. Wanneer forum nr.2 en forum nr.4 naast elkaar worden gelegd, blijkt meteen dat deze veel overeenkomsten hebben. De gebruikte namen van de deelnemers zijn anders en de volgorde is veranderd, maar de inhoud is nagenoeg hetzelfde. Forum nr.4 is echter korter en heeft niet alle posts van forum nr.2. Een mogelijkheid is dat forum nr.4 in een poging de verkoopcijfers om hoog te krijgen (ze verkopen immers ringtones), van een willekeurig forum een aantal quoten genomen heeft en deze vervolgens heeft toegevoegd om te laten zien dat dit nummer 'geweldig is'.

Thema's van de fora De fora zijn opgebouwd rondom enkele feitjes en meningen. Eén van de posts van forum nr.6, door

84 'Cayenne'; Forum nr.2. Gepost door iLoveClassisTV. 85 'Cayenne'; Forum nr.2. Gepost door xxjonas101xx. 86 'Cayenne'; Forum nr.5. Gepost door Peter Xuereb. 87 'Cayenne'; Forum nr.2. Gepost door iLoveClassisTV. 88 'Cayenne'; Forum nr.4. Gepost door Sly. 89 'Cayenne'; Forum nr.4. Gepost door Jasmin. 90 'Cayenne'; Forum nr.8. Gepost door Michael Kimsal.

21 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Adam Bernstein uit forum nr.6 geeft in een paar woorden de meest bekende informatie: “Then a few from Paul's house in 1960 including 2 originals, "You'll be Mine" (a song where they do their comic voices) and "Cayenne" (Paul's haunting instrumental) which are the only known recordings with Stu Sutcliffe on bass (the artist who left the band and died in Hamburg).” Geen van de posts laat diepere kennis blijken uit de commentaren. Zelfs naam verwarring komt voor, daar in twee fora titel toevoegingen worden gegeven.

De fora zijn als volgt in te delen: ≥ De kwaliteit van het nummer (forum nr.1, 2, 3, 4 en 9). ≥ Weerspiegeling van de kwaliteit van The Beatles en de rol van Stu Stutcliff daarin (forum nr.2, 5 en 6). ≥ Entry in een encyclopedia (forum nr.7). ≥ Uitingen niet specifiek gerelateerd aan The Beatles (forum nr. 8).

Cry For A Shadow Ook voor 'Cry For A Shadow' bestaan er onbeargumenteerde commentaren zoals “holy shit I think this song must be the most underrated of all Beatles song's!”91 en “this song is da best!”92. Er zijn echter eveneens een aantal meer beargumenteerde posts: “This song is really cool in it's style, done way back in the early sixties and has a lot of enthusiasm in the rocking sound of the guitars mixed with the screams in the background. I think it is an excellent instrumental as The Beatles were just starting to stretch their musical muscles and show what they can do even in this early stage of their career”93 en op een Duitse site: “im März 1964 versuchten sich die Beatles als Instrumentalband, aber es blieb bei diesem Versuch....(vielleicht waren The Shadows froh darüber?)”94. Hoewel deze deelnemer een fout maakt, want 'Cry For A Shadow' is afkomstig uit 1961. Het eerste forum start de discussie met de mededeling dat de vertoonde clip niet The Beatles laat zien, maar een coverband.95 De video op het forum is dermate slecht van kwaliteit, dat de spelers niet geïdentificeerd kunnen worden. Wel is op deze video het volledige nummer te horen in de lange versie van 2'34'' minuten.96 Volgens allmusic.com kreeg 'Cry For A Shadow' in 1996 een nieuwe boost doordat Beatlesfans de versie van Translator aanzagen voor een nieuwe uitgave van The Beatles. Waarschijnlijk heeft Translator eveneens de versie opgenomen die te vinden is op forum nr.1 en vaak wordt gebruikt om het nummer op de Anthology I te illustreren.97 Forum nr.3 en nr.5 draaien om het uitzoeken van de juiste noten en akkoorden voor 'Cry For A Shadow'. Naast de aanvraag, wordt er ook genoteerd welke akkoorden elkaar op zouden moeten volgen98. Daarnaast wordt ook de 'oude' manier van nummers instuderen besproken99 en hoe sommige akkoorden het best gepakt kunnen worden100. Forum nr.7 is afkomstig van Wikipedia. Ook deze entry heeft feiten verzameld rondom dit

91 'Cry For A Schadow'; Forum nr.1. Gepost door dabbik. 92 'Cry For A Schadow'; Forum nr.1. Gepost door Retro_Saiyan. 93 'Cry For A Schadow'; Forum nr.2. Gepost door George. 94 'Cry For A Schadow'; Forum nr.4. Gepost door hankmart. 95 'Cry For A Schadow'; Forum nr.1. Gepost door Greatwhitewonde en de volgende 4. 96 'Cry For A Schadow'; Forum nr.1. Video. 97 Denise Sullivan. Translator Biography. www.allmusic.com (geraadpleegd 12 januari 2009). 98 'Cry For A Shadow'; Forum nr.5. Start met Mackerel (Posted: 7/5/2006 7:54:00 AM); om vervolgens enkele post later door te gaan met Mackerel (Posted: 7/6/2006 12:20:00 AM). En 'Cry For A Shadow'; Forum nr.6. Gepost door GuitarGod. 99 'Cry For A Shadow'; Forum nr.5. Start met Barracuda (Posted: 7/5/2006 8:57:00 AM). 100 'Cry For A Shadow'; Forum nr.5. Start met Mackerel (Posted: 7/7/2006 3:57:00 AM).

22 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 nummer. Daarnaast is het mogelijk om te controleren waar de (anonieme) auteur zijn informatie verzamelt, dankzij zijn gebruik van referenties. Deze deelnemer kan vertellen dat het nummer als originele titel 'Beatle Bop' werd genoemd. Tijdens het opnemen van 'Cry For A Shadow' luisterden The Beatles nog naar de naam Beat Brothers en dienden ze als achtergrondband voor Tony Sheridan. Dit feit wordt aangestipt in forum nr.8101. Naast 'Cry For A Shadow' werd in die tijd ook 'My Bonnie' en 'Ain't She Sweet' opgenomen. Deze opnamesessie bracht The Beatles onder de aandacht van , hun eerste manager. Blijkbaar werkte de combinatie met Sheridan dermate goed dat The Beatles hun volgende stap zetten naar Beatlemania. Sheridan mag dan geen Little Richard zijn, maar dankzij hem wordt 'My Bonnie' wel een rockplaat.102 Het laatste forum draait om de band . In 2007 brachten zij de 'Beatle- imitatie'-cd Meet The Smithereens uit. Een volledige heropname van het album Meet The Beatles (zonder de elf bonus-tracks). Deze site kijkt vooruit naar de release van de volgende 'Beatles- imitatie'-cd: B-Sides The Beatles. Deze cd is afgelopen september uitgekomen. Op deze nieuwe cd brengen ze een imitatie van 'Cry For A Shadow' naast andere nummers die oorspronkelijk als b-sites (opvulling) werden gebruikt voor singles. Kurt Reil vertelt op de site, “The project started while we were making demos in preparation for the next new original Smithereens album. As the band warmed up on obscure Beatles B-sides they used to play in clubs, we soon realized there was some unfinished Beatles business for The Smithereens, especially in light of the success of Meet The Smithereens, and the idea for a follow-up was born”.103 De commentaren op deze introductie zijn mager, maar twee personen hebben moeite genomen er iets bij te zetten. De eerste zegt: “'' and 'Cry For a Shadow'? Dude, those are B-Yond the B-Sides. Excellent choices! I can't wait for it. Although when I heard rumors about this project I did get a bit giddy to hear The Smithereens version of 'You Know My Name'. Some other time, perhaps”104. En de tweede “What a coincidence Jim, I'm so happy just to dance with you too”105. Twee keer commentaar waarvan alleen de eerste zinnig is. Daarnaast wordt in forum nr.7 een discussie gestart over B-side EP's met als basis Anthology I. De Anthology I is een schat aan informatie voor fans die geïnteresseerd zijn in de vroege jaren van The Beatles. De geluidskwaliteit is over het algemeen matig, maar uit de muziek is wel te horen wat de jonge Beatles al in hun mars hebben. “Und sie sollten wieder einmal in ihrer Meinung bestätigt werden: die Beatles waren die allergrössten!”.106

Thema's van de fora Ook in deze fora blijkt duidelijk dat meningen het grootste gedeelte in beslag neemt. Ook hier zijn veel fora opgezet met vraag-antwoord en feiten-meningen combinaties. Naast enkele feiten zoals het begin van forum nr.2, staan er tussen de vele meningen enkele opmerkelijke posts. Linc107 schrijft bijvoorbeeld: “This song comes from the time of Wipeout, Walk Don't Run, Take Five and Horse - all largely pieces...it was probably proformed live a lot because sometimes as a performer on a long set you need a few minutes to rest your voice and catch your breath.” Deze post is niet specifiek gerelateerd aan 'Cayenne', maar geeft wel een goede indruk van

101 'Cry For A Shadow'; Forum nr.8. Gepost door Schalke04, Manwah en Swissflyer. 102 Pruett. www.rhapsody.com (geraadpleegd op 29 december 2008). 103 'Cry For A Shadow'; Forum nr.9. Introductie. 104 'Cry For A Shadow'; Forum nr.9. Gepost door That Tony Guy. 105 'Cry For A Shadow'; Forum nr.9. Gepost door Monolith 0f Hate. 106 'Cry For A Shadow'; Forum nr.8. Gepost door Schalke04. 107 'Cayenne'; Forum nr.2.

23 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 wat deze deelnemer weet. Andere posts geven meer informatie over het nummer zelf. Hankmart108 schrijft bijvoorbeeld: “im März 1964 versuchten sich die Beatles als Instrumentalband, aber es blieb bei diesem Versuch....(vielleicht waren The Shadows froh darüber?)”. In het zelfde forum komt ook een reactie op de fout die Hankmart maakt. Wolf schrijft: “Ich glaub das war eher 1961 als 1964. Einziger Beatles Song der von George Harrison und John Lennon verfasst wurde.” Het meest interessante forum is forum nr.6. De eerste deelnemer stelt de vraag of het ook daadwerkelijk George Harrison is die de lead guitar speelt. De ontwikkeling die daar op volgt, bestaat uit beargumenteerde posts, doorspekt met feiten.

De fora: ≥ De kwaliteit van het nummer (forum nr.1, 2 en 4). ≥ Vraag voor gitaartabs (forum nr.3, 5 en 6). ≥ Entry in een encyclopedia (forum nr.7). ≥ Tony Sheridan als leider en The Beatles als achtergrondband (forum nr.8). ≥ Uitingen niet specifiek gerelateerd aan The Beatles (forum nr.9).

Flying Ook voor 'Flying' bestaan er vage kreten zoals “weird song, good album”109 en “Not bad for an instrumental”110. Forum nr.2111, nr.4 en nr.9 gaan volledig over het beoordelen van de kwaliteit van 'Flying'. De participerende deelnemers kunnen daar aangeven door middel van sterren (forum nr.2 en nr.9) of ratings (forum nr.4) hoe goed ze de song vonden. In forum nr.1 zijn er echter veel meer onderbouwde kreten. “I agree this instrumental is very trippy...and thats why its my favorite!”112 en “It sounds like the Booker T and the MG'S doing . It['s] a trippy space rock song with a great backward mellotron ending that sounds like copied directly from one [of] there songs”113. Opvallend aan het eerste forum is dat veel participanten het hebben over 'trippy' en andere drugs gerelateerde belevenissen die uitstekend zouden aansluiten bij 'Flying'. De Engelstalige Wikipedia heeft ook voor de song 'Flying' een entry. De site meldt dat de song is toegeschreven aan Lennon, McCartney, Harrison, Starky. Starky is de officiële achternaam van Ringo114. Deze deelnemer heeft zelfs een kleine analytische waarneming vermeld in zijn betoog. Het artikel eindigt met 'invloeden op andere artiesten', waarbij deze invloed reikt van covers tot vage linken. In forum nr.5 is de auteur Jbev bezig met een lijst te maken van alle Beatlessongs, waarbij hij hen rangschikt van slechtste nummer tot beste. Op nummer 153 staat 'Flying'. Een deel van Jbev's keuze om 'Flying' daar neer te zetten is zijn algemene hekel aan instrumentals. Vervolgens ontstaat er een discussie over dat onderwerp. Het antwoord van Shredder luid als volgt:115

“Come on dude. You don’t like instrumentals? Which basically means you don’t like , most jazz, electronica, dub etc. etc. It basically means you don’t like the “music” part of music. You like people to sing you a song with lyrics that meet your approval.

108 'Cayenne'; Forum nr.4. 109 'Flying'; forum nr.1. Gepost door Jonathan. 110 'Flying'; forum nr.1. Gepost door Tyson. 111 In het tweede forum wordt verwezen naar het 'geneurie van The Beatles' als lyrics. Zoals in de introductie vermeld is, valt 'nurieën' net als 'lalala' niet onder songtekst. 112 'Flying'; forum nr.1. Gepost door Marshall. 113 'Flying'; forum nr.1. Gepost door Sal. 114 'Ringo' is eveneens niet zijn originele voornaam. Deze bijnaam krijg hij omdat hij altijd ringen droeg. 115 'Flying'; forum nr.5. Gepost door Shredder.

24 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

No offense, but how are you a music critic? Can you play any instruments? Much of what makes any music great are the instrumental “chops” of the virtuosos we pay to play for us. If you don’t like musicians to be proficient on their instruments, why don’t you just sit around a campfire with your friends and sing Kumbaya? [...] You are a dweeb. Who cares what you think about The Beatles.”

Deze escalatie weerspreekt Jbev door te beweren dat hij niet specifiek genoeg is geweest. 'Hij houdt alleen niet van Rockinstrumentals' en 'hij ziet zichzelf niet als een criticus, maar als een fan met een mening'.116 In forum nr.6 gaat het net als bij The Smithereens om covers van The Beatles, waar 'Flying' door J. Cournoyer wordt gespeeld. Het tweede volume van Cape Cod Covers (2007) herbergt versies van 21 Beatlessongs door verschillende artiesten. Veel songs zijn regelrechte kopieën, maar anderen zijn aangepast aan de stijl van de coverende artiesten.117 De cd is uitgebracht om Earth Angels financieel te ondersteunen. De Earth Angels zijn piloten die levensmiddelen en medicijnen brengen naar mensen die ze nodig hebben en niet in staat zijn deze zelf te halen. Forum nr.7 onderzoekt waarom het album zo weinig positieve reacties krijgt.118 Med57 geeft als eerste argument de tijd waarin het uitgebracht is, vlak na Sgt Pepper's Lonley Hearts Club Band (1967) en Revolver (1966). Hij geeft daarvoor het volgende argument: “Like The White Album, this is an album that sounds as if it simply has too many ideas on to all be by the same band, and in a way, that makes sense, because this album is effectively half film soundtrack, and half compilation some of the band’s biggest singles in the preceding year”.119 Hoewel Med57 verder beargumenteert waarom dit album wel goed is, vindt hij 'Flying' ook daadwerkelijk onder de maat. De commentaren op deze recensie vallen weer terug in de beoordeling van de kwaliteit van 'Flying' (wanneer deze genoemd wordt) en het album. Van alle commentaren is er één participant120 die het over de film heeft, in plaats van over de cd. Forum nr.8 gaat eveneens over de kwaliteit van het album, al is deze auteur121 minder positief. Hij schrijft dat drugs het album tot een puinhoop hebben gemaakt. Verder beoordeelt hij dat Sgt. Pepper's Loneley Hearts Club Band het hoogtepunt van The Beatles was en ze daarna alleen maar de verkeerde kant op konden gaan. In zijn rating eindigt 'Flying' met maar één ster, en een minimale erkenning voor het bestaan van deze instrumental, zo vindt Uncle Albert122. De discussie draait om hetzelfde onderwerp als een van de forums van 'Cayenne': ratings maken tussen Beatlesnummers kan dat?

Thema's van de fora De fora voor 'Flying' hebben, tot nu toe, de meest informatieve entries. Hoewel ook hier niet of slecht onderbouwde meningen gepost zijn, zijn er op verscheidene plaatsen onderbouwde posts terug te vinden. Joe123 schreef bijvoorbeeld: “This song has acoustic guitar recorded through a Leslie speaker and a backward coda. The tape loops were done by Lennon and Ringo and the song is credited to all The Beatles.” En in hetzelfde forum bij Dirk: “Here's an observation about how

116 'Flying'; forum nr.5. Gepost door Jbev. 117 'Flying'; forum nr.6. Gepost door Joe Burns. 118 'Flying'; Forum nr.7 introductie door Med57. 119 'Flying'; Forum nr.7 introductie door Med57. 120 'Flying'; Forum nr.7. Gepost door Storm In A Teacup. 121 'Flying'; Forum nr.8. Introductie Webomatica. 122 'Flying'; Forum nr.8. Gepost door Uncle Albert (6 maanden geleden). 123 'Flying'; forum nr.1.

25 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 unusual this recording is.... It actually consists of two parts--the melodic musical part (the "real" part), and then the sort of dreamy fade-out. Here's the part you've probably never noticed: Next time you're listening to it on CD with a CD player that displays the time, notice exactly when the "real" part of the song ends and the dreamy fade-out begins. They are almost the same length, almost second for second. In other words, that trippy floaty ending is as important a piece of the recording as the "real" part of the song.”

De thema's: ≥ De kwaliteit van het nummer (forum nr.1, 2, en 9). ≥ Underrating van het album Magical Mystery Tour (forum nr. 7 en 8). ≥ De Instrumental als een genre op zichzelf (forum nr.5). ≥ Entry in een encyclopedia (forum nr.7). ≥ Uitingen niet specifiek gerelateerd aan The Beatles (forum nr.4 en 6).

Revolution 9 Forum nr.1 gaat uitsluitend over de kwaliteit van Beatlesnummers in het algemeen. Niet zozeer wat de deelnemers de beste song vinden, maar welke het slechtst is. Zo'n forum lokt meteen weer commentaar uit dat het blasfemie124 is om zoiets over de muziek van The Beatles te zeggen. 'Revolution 9' komt in dit eerste forum niet positief naar voren. De meeste participanten begrijpen niets van het nummer en kiezen deze als 'slechtste' song. Forum nr.2 start met een recensie van 'Revolution 9'. Loki125, auteur van deze introductie, herinnert zich een college over dit nummer waarin een docent les gaf in avant-garde composities. De recensie intrigeert de lezer in het meevoelen van de onmogelijke eisen die docent Crane geeft. Helaas zijn de commentaren uit de onderstaande 'discussie' inhoudelijk gezien geen toevoeging. Forum nr.3 is geschreven naar aanleiding van een vraag:126 “Hello Beatle Philes...I am rather new to the White Album and was taken aback by this haunting track.....did the band ever state what the meaning of this bizarre track is? it also sounds like it may be played backwards, if so what does it reveal? is...” Het forum gaat niet in op de geheimen die verborgen zouden zitten in de achterwaarts gedraaide tapes. Volgens de auteur van Beatle Philes was het opnemen en uitproberen van vreemde geluiden iets dat The Beatles al vanaf hun kinderjaren deden. Van al deze experimenten is 'Revolution 9' de enige die ook daadwerkelijk op een album verschenen is. Het forum vertelt hoe 'Revolution 9' tot stand is gekomen: De basis is afkomstig van 'Revolution' en de kreet 'number nine' afkomstig van een tape uit de EMI-archieven. Ook forum nr.4 heeft het over de kwaliteit van 'Revolution 9', maar wel op een banaler niveau: of het überhaupt een 'song' is of niet. Veel fans zullen vinden van niet, want soundcollages zijn niet voor iedereen weggelegd zoals blijkt bij Loki van Forum nr.2. 'Revolution 9' is zo bekend dat ook de Nederlandstalige Wikipedia (forum nr.7) een entry heeft voor deze song net als de Engelse versie (forum nr.5). De Engelse versie is erg uitgebreid en bevat zelfs een analyse, met de bijbehorende interpretaties in het '' verhaal. Sommigen geloven dat in diverse songs van The Beatles, aanwijzingen verborgen zijn welke aangeven dat McCartney eigenlijk dood is. Hij zou vervangen zijn door iemand die een 'Look-a-like' wedstrijd gewonnen zou hebben. De Nederlandse entry is een verkorte versie van de Engelse. De analyse is ingekort en het verhaal ontbreekt.

124 'Revolution 9'; Forum nr.1. Gepost door Smuggeridge (2 years ago). 125 'Revolution 9'; Forum nr.2. Gepost door Loki. 126 'Revolution 9'; Forum nr.3. Gepost door Dlee82993 (12 November 1999 08:31:49).

26 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

'Revolution 9' is eveneens besproken op de site die de titel Playing The Beatles Backwards (forum nr.6) draagt. Met deze song opent de lijst zich, hierbij claimend dat 'Revolution 9' het minst goede nummer van The Beatles is. Jbev Eindigt zijn commentaar met: To novice Beatles fans, I warn you not to believe the hype about “Revolution 9.” I’ve listened to it many times over the years, waiting for the light in my head to switch on so I could unlock its mysteries. All I’ve ever gotten out of it is the vague feeling that immediately after listening to it, something is going to rise out from under my bed and butcher me in my sleep. And so, as John spookily says in the song (and I use that term loosely), “Take this brother, may it serve you well.” In fact, feel free to take it, because I just don’t get it and I never will. Een antwoord komt van Richard Forman127 die beweert dat het 'misschien juist de bedoeling is dat je je zo voelt'. 'Revolution 9' is gepositioneerd als één na laatste track van de tweede cd uit The White Album. Ervoor staat '' en als allerlaatste song is 'Good Night' toegevoegd. Vooral de combinatie van de soundcollage en vervolgens een slaapliedje is in Forum nr.8 reden tot speculatie: “This song is nice to hear after 'Revolution 9' because your creeped out and scared from the prior song then this comes on and your like "wow there's nothing to be afraid of huummmm" anyhow. Good song to end a long album heh”128. De laatste van de bronnen is een analyse. Isaac Samuel129 de schrijver van deze blog maakt gebruik van de analyse om te verklaren dat Lennon 'Revolution 9' ziet als een van zijn beste songs. Hij analyseert niet alleen de muziek, maar trekt de beelden van de clip erbij om te bewijzen dat de autobiografische elementen een belangrijk onderdeel uitmaken van het nummer. Zoals hij vermeldt in het begin van zijn blog, ziet Lennon deze elementen als criteria om de desbetreffende song als 'goed' te kwalificeren. Hij eindigt met de woorden: “As this piece deserves more credit than it usually gets, it gets my vote for Most Underrated Beatles Song ever.”130

Thema's van de fora De fora voor 'Revolution 9' bevatten voornamelijk meningen. De interessantste fora zijn nr.3, 5 en 9. Forum nr.3 gaat uitgebreid in op hoe The Beatles toen waren, hun acties en andere feiten rondom dit nummer. Forum nr.5 is niet zozeer gericht op de song zelf, maar behandelt de rol van deze track in de 'Paul Is Dead' mythe. Het meest interessante forum is nr.9. Hierin wordt 'Revolution 9' volledig geanalyseerd. De fora: ≥ De kwaliteit van het nummer (forum nr.1, 2, 4, 6 en 7). ≥ Analyses (forum nr.3 en 9). ≥ Entry in een encyclopedia (forum nr.5 en 7). ≥ De plaats van het nummer op The Beatles/White Album (forum nr.8).

127 'Revolution 9'; Forum nr.6. Gepost door Richard Froman. 128 'Revolution 9'; Forum nr.8. Gepost door Onthelongview (post: 09 juli 2006). 129 'Revolution 9'; Forum nr.9. Isaac Samuel. 130 'Revolution 9'; Forum nr.9. Isaac Samuel.

27 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Hoofdstuk 3 Verwerking

Inleiding Populaire muziek heeft in zijn relatief korte bestaansperiode veel ontwikkeling doorgemaakt. Niet alleen creëert elke generatie zijn eigen muzikale idioom, tevens wordt er door de oude generatie star vastgehouden aan eigen ideeën. The Beatles zijn ooit begonnen als dansband in clubs, muziek spelend die op dat moment populair was. In de jaren '60 zijn zij de band waar covergroepen zich op focussen. Tien jaar later zijn ze weer uit de mode en gaat de volgende generatie op zoek naar muziek die aansluit bij hun eigen smaak. Weinig groepen hebben het voor elkaar gekregen om zo populair te worden als The Beatles. Zelfs in 2009 krijgen ze nog nieuwe fans, hoewel de hoogtijdagen van Beatlemania (waarschijnlijk) niet zullen terugkeren. Dat The Beatles niet vergeten zijn, blijkt ook uit de voorgaande hoofdstukken. Wanneer de instrumentals gerangschikt moeten worden van 'minst bekend' naar 'bekend', dan komt dit overeen met de rangschikking van de paragrafen. 'Cat's Walk' is alleen voor diehard fans die tevens geïnteresseerd zijn in bootlegs en covers. 'Cayenne' is bekender, maar nog steeds een van de ondergeschoven kindjes. De bekendheid is gegroeid sinds de instrumental is uitgebracht in de 'Anthology'-serie. Blijkbaar heeft het feit dat beide nummers stammen uit de tijd vóór Beatlemania weinig invloed, want 'Cry For A Shadow' is populair. Dit nummer is, in tegenstelling tot de andere twee, uitgebracht op lp (gewoon op de lijst en niet als bonus-track), samen met andere muziek waarbij Tony Sheridan als leider optreedt. Naar 'Revolution 9' wordt nauwelijks geluisterd en 'Flying' wordt voornamelijk in verband gebracht met drugsgebruik.

Fora Van de gevonden fora blijkt dat de opzet eenvoudig is. De meesten beginnen met een vraagstelling of het opsommen van feiten. De antwoorden hierop zijn vaak meningen die niet verder komen dat 'leuk' of 'niet leuk'. Wanneer al deze fora worden samengevoegd, valt er een antwoord te vinden op de hoofdvraag. Deze vraag was: “wat zijn de thema's over de instrumentale muziek van The Beatles die uitgebracht zijn op originele lp en op de Anthology-serie in de zoekmachine Google?” In het voorgaande hoofdstuk kwamen de volgende thema's naar voren: 'Cat's Walk': ≥ De kwaliteit van het nummer (Forum nr.4, 8 en 9). ≥ 'Weggegeven songs'131 van The Beatles (Forum nr.2, 4 en 5). ≥ Wie er drumt (forum nr.3). ≥ Inspiratie (forum nr.1 en 6). ≥ Het aantal songs dat The Beatles hebben geschreven (forum nr.7). 'Cayenne': ≥ De kwaliteit van het nummer (forum nr.1, 2, 3, 4 en 9). ≥ Weerspiegeling van de kwaliteit van The Beatles en de rol van Stu Stutcliff daarin (forum nr.2, 5 en 6). ≥ Entry in een encyclopedia (forum nr.7). ≥ Uitingen niet specifiek gerelateerd aan The Beatles (forum nr. 8). 'Cry For A Shadow': ≥ De kwaliteit van het nummer (forum nr.1, 2 en 4).

131 Hiermee wordt bedoelt dat The Beatles de songs wel geschreven hebben, maar aan andere artiesten hebben gegeven om uit te voeren. De meeste songs hebben ze zelf nooit opgenomen, met uitzondering van 'Cat's Call'.

28 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

≥ Vraag voor gitaartabs (forum nr.3, 5 en 6). ≥ Entry in een encyclopedia (forum nr.7). ≥ Tony Sheridan als leider en The Beatles als achtergrondband (forum nr.8). ≥ Uitingen niet specifiek gerelateerd aan The Beatles (forum nr.9). 'Flying': ≥ De kwaliteit van het nummer (forum nr.1, 2, en 9). ≥ Underrating van het album Magical Mystery Tour (forum nr. 7 en 8). ≥ De Instrumental als een genre op zichzelf (forum nr.5). ≥ Entry in een encyclopedia (forum nr.7). ≥ Uitingen niet specifiek gerelateerd aan The Beatles (forum nr.4 en 6). 'Revolution 9': ≥ De kwaliteit van het nummer (forum nr.1, 2, 4, 6 en 7). ≥ Analyses (forum nr.3 en 9). ≥ Entry in een encyclopedia (forum nr.5 en 7). ≥ De plaats van het nummer op The Beatles/White Album (forum nr.8).

Het eerste dat opvalt, is dat er weinig thema's zijn. Het volgende opmerkelijke gegeven, is dat alle songs het eerste thema gemeen hebben. Veel van de forums zijn specifiek gericht op het weergeven van smaken. Daarbij draait het meestal niet om beargumenteerde classificatie. Kwaliteit wordt besproken in de meest basale vorm, met keuzes tussen 'goed', 'slecht' en 'matig'. De inhoud van een forum wordt meer beargumenteerd wanneer de basis om een dergelijke discussie te starten, wordt voorafgegaan door een duidelijke mening. Dit blijkt duidelijk uit forum nr.5 van 'Flying' en forum nr.8 van 'Revolution 9'. Bij drie instrumentals is er nog een thema dat telkens terugkomt: forums waarin de song wel voorkomt, maar die niet specifiek zijn opgestart voor het bespreken van de betreffende instrumental. De andere thema's zijn niet specifiek als thema van meer dan één song te achter halen. Uit de forums blijkt dat 'Cat's Walk' maar oppervlakkig bekend is, waarbij kleine brokjes informatie steeds opnieuw worden gebracht. De forums gevonden in Google voor 'Cayenne' gaan, behalve de 'kwaliteits'-forums, niet specifiek over het nummer zelf. De verwijzingen naar 'andere naam'-versies is erg kort, niet onderbouwd en dus ook niet te herleiden tot een plausibel verhaal. Het derde thema draait meer om The Beatles in het algemeen en het vierde thema is voorbij gewandeld aan de titel 'Cayenne'. Helaas geldt deze vaststelling ook voor 'Flying'. 'Cry For A Shadow' heeft meer specifiek op het nummer gerichte thema's, waarbij er een betere verdeling van forums is over de verschillende thema's. 'Revolution 9' heeft ook meer specifieke thema's, maar daar is het gros geconcentreerd rond de kwaliteit van de song. De grootste uitdaging is 'Cat's Walk'. Aangezien The Beatles het nummer maar één keer zelf hebben gebruikt en zelfs iemand toestemming hebben gegeven om het te coveren, is het moeilijk na te gaan wat voor veranderingen het nummer ondergaan heeft. Daarbij is dit een van de weinige Beatlesnummers die, ondanks de cover, nooit echt populair is geworden. Wat nog meer opvalt, is dat het eerste thema 'kwaliteit' nauwelijks een rol speelt in de forums. Bij de andere songs is dat over het algemeen het meest gevonden onderwerp. Dit laatste is ongetwijfeld te wijten aan de onbekendheid van het nummer. De muziek van dit nummer achterhalen gaat moeizaam. De weinige bootlegs en de special edition van Meet The Beatles zijn schaars.

Herindeling Definiëren welke informatie belangrijk is, hangt af van het forum. Een discussie pagina zoals forum nr.2 van Cayenne heeft tot doel om te bepalen of deze song 'goed' of 'slecht' is. De encyclopedia

29 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Wikipedia daarentegen heeft tot doel de lezer te informeren over bekende informatie van het nummer. Wanneer uitgegaan wordt van deze criteria om fora in te delen, zal tevens de ordening moeten veranderen. In plaats van te bepalen wat er precies besproken wordt, is het interessanter om te bepalen tot wat voor soort categorie het forum behoort. Hiervoor zijn vijf categorieën vastgesteld die van belang zijn voor deze analyse:

Categorie I: meningen. In deze categorie vallen alle forums waar meningen het gros van de posts uitmaken. Deze forums laten wel zien dat de song nog leeft, maar geven tevens aan dat het informatie niveau erg laag is.

Categorie II: feiten. De tweede categorie uitgebreider niveau van behandelen, maar is tevens onpersoonlijk, doordat feiten overal te vinden zijn. Fouten die eenmaal verkeerd op het internet te vinden zijn, kunnen in sommige gevallen een eigen leven gaan leiden. Hiermee wordt bedoeld dat mensen klakkeloos kopiëren, waarbij een foutief feit wordt overgenomen als waar. Aangezien de bron van de deelnemer vaak niet te achterhalen is, kunnen sommige feiten op een wankele basis staan.

Categorie III: analyses. Deze derde categorie heeft de hoogste besprekingsgraad. Niet alleen zullen de deelnemers gedegen kennis moeten hebben van analyseren, maar tevens op de hoogte moeten zijn van de context.

Categorie IV: niet relevant. Onder de vierde categorie vallen alle forums waar het desbetreffende instrumental wel genoemd wordt, maar waarbij de site niet specifiek aan The Beatles gerelateerd is. Hieronder vallen ook cover-cd's.

Categorie V: grijze gebieden. Onder categorie vijf vallen tevens de cd recensies. Deze recensies noemen vaak het desbetreffende nummer, maar gaan er niet diep op in. Toch vallen veel van deze forums niet onder de categorie 'niet relevant', omdat ze wel degelijk over The Beatles gaan.

Nu de categorisering vaststaat, kunnen de fora opnieuw verdeeld worden. Hiervoor is het enige criterium, naast bovenstaande verklaringen, dat meer dan zestig procent van het forum qua inhoud bijdraagt aan de desbetreffende categorie. Wanneer de fora op die manier onder de loep worden genomen resulteert dat in het volgende schema:

Fora indeling 'Cat's Walk' 'Cayenne' 'Cry For A Shadow ' 'Flying' 'Revolution No.9' Categorie I: meningen. nr.3, 9 nr.2, 3, 4 nr.1, 2, 3, 4, 6 nr.1, 2, 4, 5, 8 nr.1, 2, 4, 6, 8 Categorie II: feiten. nr.1, 7 nr.1, 7 nr.7 nr.3 nr.3, 5, 7 Categorie III: analyses. nr.5 nr.9 Categorie IV: niet relevant. nr.6 nr.8, 9 nr.9 nr. 6 Categorie V: grijze gebieden. nr.2, 4, 5, 8 nr.5, 6 nr.8 nr.7, 9

Hieruit blijkt dat vooral de analytische fora, veruit in de minderheid zijn. Naast categorie twee, is dat de categorie met de meeste wetenschappelijke potentie. Andere fora hebben niet de potentie om wetenschappelijk te zijn en daarom wordt deze potentie genegeerd in die categorieën die daar behoefte aan hebben.

30 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Categorie I meningen Uit bovenstaande schema blijkt dat in deze categorie de volgende fora vallen: nr.3 en 9 van 'Cat's Walk'; nr.2, 3 en 4 van 'Cayenne'; nr.1, 2, 3, 4 en 6 van 'Cry For A Shadow'; nr.1, 2, 4, 5 en 8 van 'Flying; en nr.1,2, 4, 6 en 8 van 'Revolution 9'. Er zit een cadens in deze nummers. De eerste twee songs hebben beide het derde fora in deze categorie staan. De laatste drie songs allemaal nr.1, 2 en 4. Dit is tevens de categorie met de meeste fora. In hoofdstuk 2 is in het kort verteld wat de desbetreffende fora als onderwerp hadden. Deze categorie heeft weinig wetenschappelijke potentie, maar geeft juist weer wat niet-wetenschappers denken van de betreffende song. Veel van de geposte entries zijn tevreden met het vermelden van relatieve gradaties zoals 'goed', 'slecht' en 'matig'. Sommige fora daarentegen zijn specifiek opzoek naar een antwoord, gesteld aan het begin van dat forum. Deze categorie valt uiteen in twee delen: ratings en vraag/antwoord. De eerste subcategorie is vrij eenvoudig te herkennen. Niet alleen maken sommige sites gebruik van ratings met behulp van een systeem. Gebruikers van de site kunnen op die manier aangeven hoe goed ze het nummer achten, door er een hoeveelheid sterren/punten aan toe te kennen. Fora vallen hier eveneens onder wanneer ze geen antwoord geven op een vraag. Hierbij geldt dat de vraag als basis moet dienen voor het ontstaan van het forum. Vraag en antwoord fora maken vaak meer gebruik van feiten, te meer omdat de entry moet leiden tot een antwoord. Hierdoor komen de fora die hier onder vallen op een andere basis te staan dan de fora uit de ratings subcategorie. Bij deze fora is de onderverdeling lastig, doordat een goede afweging moet worden gemaakt wat de meest gebruikte hoeveelheid commentaren is: feiten of meningen. Hoewel deze fora ingedeeld zijn bij de eerste categorie, wil dat geenszins zeggen dat er geen gebruik wordt gemaakt van onderdelen uit andere categorieën. Zo wordt in forum nr.6 van 'Cry For A Shadow' een korte analyse gegeven door één van de deelnemers. DaleFortune de schrijver van de desbetreffende entry, geeft een aantal akkoorden weer die gebruikt worden in 'Cry For A Shadow'. Dit is echter geen analyse die ergens specifiek geschreven wordt, het is slechts mensen de mogelijkheid geven om de song zelf te spelen.

Categorie II feiten Uit het schema blijkt dat deze categorie eveneens groot is. De fora die tot deze categorie behoren zijn: nr.1 en 7 van 'Cat's Walk'; nr.1 en 7 van 'Cayenne'; nr.7 van 'Cry For A Shadow'; nr.3 van 'Flying'; en nr.3, 5 en 7 van 'Revolution 9'. Ook in deze opsomming zit een cadens: vooral fora nr.1, 3 en 7 behoren tot deze categorie. Feiten vragen in de wetenschappelijke wereld om referenties. Nu is dat bij de fora in deze categorie niet vanzelfsprekend. Veel deelnemers, zoals in forum nr.1 van 'Cat's Walk' en forum nr.3 van 'Revolution 9', geven geen bronnen voor de informatie die ze geplaatst hebben. Daar tegenover staan de Wikipedia artikelen. Doordat iedere internet gebruiker in staat is om daar een artikel te plaatsen of te verbeteren, kan dit worden gegenereerd als een blog. Zeker de Engelstalige Wikipedia maakt veel gebruik van referenties. (Alleen forum nr.9 van 'Revolution 9' is een uitzondering in deze thesis.) Wat opvalt, is dat forum nr.7 van 'Revolution 9' voor een groot deel dezelfde tekst heeft als het vijfde forum van dezelfde song.

Categorie III Analyses Dit is de kleinste categorie en tevens de categorie met de meest wetenschappelijke potentie. Uit

31 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 bovenstaand schema valt te destilleren dat alleen fora nr.5 van 'Cry For A Shadow'; en nr.9 van 'Revolution 9' behoren tot deze categorie. In eerste instantie zou ook forum nr.3 van 'Revolution 9' kunnen worden toegevoegd aan dit rijtje, maar wanneer de analytische onderdelen worden afgewogen tegen het gebruik van feiten, dan eindigt dit fora in categorie II. Qua indeling is dit de kleinste categorie. Nu zijn er wel meer fora die verspreid over de entries analyses geven, maar deze fora zijn niet in deze categorie geplaatst. Dit komt doordat daar meer meningen of feiten dan analyses worden gegeven. De tab die uiteindelijk aan 'Cry For A Shadow' wordt gegeven, heeft niet de pretentie om een onderzoek te zijn. Het doel van dit forum was dan ook een mogelijkheid geven om de muziek zelf te kunnen spelen. Forum nr.9 van 'Revolution 9' heeft tot doel om de lezer te overtuigen dat Lennon dit nummer als een van zijn beste beschouwt. Dit laatste forum is dan ook het forum met de meest wetenschappelijke potentie. Helaas maakt de auteur (Isaac Samuel) geen gebruik van specifieke referenties. De referenties zijn erg kort: “From "Lennon Remembers" (1971), pg. 29:”. Geen auteur, geen andere referenties, wat het moeilijk maakt om de bron terug te vinden.

Categorie IV niet relevant Deze categorie heeft zijn eigen waarde. Uit deze categorie valt op te maken in hoeverre een song in andere discussies een rol speelt. Deze rol maakt duidelijk dat mensen in gedachte vaker aan de song denken, dan op sites die puur op The Beatles gericht zijn. Onder deze categorie vallen de volgende fora: nr.6 van 'Cat's Walk'; nr.8 en 9 van 'Cayenne'; nr.9 van 'Cry For A Shadow'; en nr.6 van 'Flying'. Hier zijn de fora die het vaakst worden aangetroffen nr.6 en 9. Twee van de fora die onder deze categorie vallen, bestaan uit recensies van cover cd's. Eén van de fora (nr.8 van 'Cayenne') heeft een ogenschijnlijk verdwaald commentaar over 'Cayenne', daar de inhoud van het forum gaat over Muxtape. Het laatste forum (nr.9 van 'Cayenne') gaat over het samenstellen van een speellijst, hier is 'Cayenne' ook in trek.

Categorie V grijze gebieden Deze categorie is de minst bruikbare van de categorieën, doordat de site wel over The Beatles gaat, maar geen specifiek op de song betreffende informatie verschaft. Het gebruik van de nummers in niet-Beatle gerelateerde sites heeft meer informatieve waarde dan het gebruik van een song in een opsomming tijdens het bespreken van een recensie. Opvallend is, dat deze categorie groter is dan categorie III en tevens groter dan nr.IV. De volgende fora behoren tot categorie V: nr.2, 4, 5 en 8 van 'Cat's Walk'; nr.5 en 6 van 'Cayenne'; nr.8 va 'Cry For A Shadow'; en nr.7 en 9 van 'Flying'. Hoewel er meer fora vallen onder deze categorie dan onder de vierde, zijn deze meer gelijkwaardig. Voor 'Cat's Walk' zijn het recensies over 'weggegeven songs'. De Fora voor 'Cayenne' en 'Cry For a Shadow' hebben recensies voor Anthology I en 'Flying' over Magical Mystery Tour. Recensies zoals deze, besteden weinig aandacht aan de betreffende song zelf, waardoor een inschatting van de hoeveelheid aanwezige kennis over de nummers, niet haalbaar is.

32 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Hoofdstuk 4 Conclusie

Inleiding De instrumentals worden vooral oppervlakkig behandeld. Een enkeling analyseert het nummer in de diepte. Kennelijk vinden de gebruikers dat diepteanalyses veel minder interessant om over te discussiëren dan feiten. Alleen forum nr.5 en nr.6 van 'Cry For A Shadow', gaan dieper op het nummer in. De drie instrumentals van voor Beatlemania ('Cat's Walk', 'Cayenne' en 'Cry For A Shadow') lijken veel meer op de latere muziek, die The Beatles geproduceerd hebben, dan 'Flying' en 'Revolution 9'. Flying lijkt al veel op een soundcollage, hoewel de gebruikte melodie uit het eerste deel nog wel vergelijkbaar is met andere Beatles-songs. Het andere verschil tussen de eerste drie instrumentals en de laatste twee, is de invloed van The Shadows. Uit 'Cry For A Shadow' blijkt dit al uit de titel, in de andere twee zijn eveneens herkenbare Shadows elementen terug te vinden. Zowel in de discussie rondom 'Cayenne' als in 'Cry For A Shadow' komt de superioriteit van The Beatles als onderwerp naar voren. Uit deze forums (nr.2, 5 en 6 van 'Cayenne' en nr.8 van 'Cry For A Shadow') komt een zwart/wit keuze naar voren: je bent fan of je bent het niet. Als fan behoor je elk nummer dat ze gemaakt hebben te classificeren als 'geweldig'. Wanneer kritiek wordt geuit op welk nummer dan ook (zelfs 'Revolution 9' moet worden gezien als 'geweldig') behoor je niet meer tot de 'fans'. Volgens sommige deelnemers zijn er immers geen slechte. Gelukkig zijn er ook fans die deze mening niet zijn toegedaan, hoewel zij zich zo veel mogelijk indekken om niet te veel kritiek te krijgen. Dit onderwerp is terug te vinden op elke site die onderscheid maakt tussen goede en slechte nummers. Veel van de lezers die keuzes durven te maken tussen de nummers van The Beatles, geven aan dat 'Flying' en zelfs het hele album Magical Mystery Tour verpest is door drugs. Nu is dat niet verwonderlijk want The Beatles gebruikten vanaf hun dagen in Hamburg al LSD en de drugs eisten steeds meer hun tol. Veel van de deelnemers geven ook aan dat 'Flying' prachtige muziek is wanneer ze zelf high zijn. Voor degenen die nog down to earth zijn, is het nummer lastiger te plaatsen. De forums van 'Revolution 9' blijven erg steken in 'goed' of 'slecht', de meer kritische forums (nr.3, 5 en 7) bevatten enkele posts met analyses. Geen van de deelnemers interesseert zich voor de claims die allerlei groeperingen hierover maken. Of over het verband tussen de drie 'Revolutions'. De relatie tussen The Beatles en The Shadows is nu alleen nog te achterhalen door het aan McCartney of Ringo te vragen. Interpretatie van de instrumentals hangt af van de persoon die dat doet en de vraag hoe diegene tegen The Shadows aankijkt. Shadowsfans zullen ongetwijfeld positiever zijn dan niet-Shadowsfans. Eén ding is zeker: The Shadows waren de meest populaire band in Groot-Brittannië voordat The Beatles populair werden. Het is dan ook niet verwonderlijk dat The Beatles gebruik hebben gemaakt van imitaties en dat The Shadows gerekend kunnen worden tot een van hun roots.

Categorieën In categorie I vallen alle forums waar meningen het gros van de posts uitmaken. Deze forums laten wel zien dat de song nog leeft, maar geven tevens het beeld dat het informatie niveau erg laag is. Belangrijk in deze categorie, is het zoeken naar gelijkgestemden. Deelnemers zoeken een klankbord voor hun eigen mening, hoe futiel deze in andermans ogen ook mag lijken. Als deelnemer in deze

33 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 categorie is het niet noodzakelijk over diepgaande kennis te beschikken, belangrijker is dat de stem gehoord wordt. De tweede categorie heeft een uitgebreider niveau van behandelen, maar is tevens onpersoonlijk, doordat feiten overal te vinden zijn. Fouten kunnen als gevolg hiervan, een eigen leven gaan leiden. Uit deze categorie heeft Wikipedia de meest wetenschappelijke potentie. Niet alleen worden feiten bij elkaar gesprokkeld van allerlei status, maar tevens worden daar (vaak) referenties gegeven. Hierdoor krijgt de lezer de mogelijkheid om zelf de stappen te achterhalen die de auteur gezet heeft. Andere fora hebben duidelijk geen wetenschappelijke potentie, maar gebruiken feiten, waarvan verwacht wordt dat fans deze al kennen, voor het ondersteunen van een mening. Hierbij gaat het niet om gelijk te krijgen, belangrijker is dat de mening geventileerd wordt naar de buitenwereld. De derde categorie heeft de hoogste besprekingsgraad. Niet alleen zullen de deelnemers gedegen kennis moeten hebben van analyseren, maar tevens moeten ze op de hoogte zijn van de context. Kennelijk vinden gebruikers van het internet, analyseren minder belangrijk dan het ventileren van meningen. Context en mogelijkheden om een analyse uit te voeren op een manier die daadwerkelijk leidt naar wat de deelnemer wil vertellen, is bewerkelijker dan opschrijven wat gedacht wordt. Onder de vierde categorie vallen alle forums waar het desbetreffende instrumental wel genoemd wordt, maar waarbij de site niet specifiek aan The Beatles gerelateerd is. Hieronder vallen ook cover-cd's. Uit deze categorie blijkt dat zelfs de obscure songs van The Beatles nog leven en dat deze interessant zijn voor andere artiesten om mee te nemen in een project. Zelfs in fora waar de discussie totaal geen link heeft met The Beatles, kan een song toch opduiken en aandacht vragen. De vijfde categorie vallen cd recensies. Deze recensies noemen vaak het betreffende nummer, maar gaan er niet diep op in. Toch vallen veel van deze fora niet onder de categorie 'niet relevant', omdat ze wel degelijk over The Beatles gaan. Hieruit blijkt dat er veel recensies zijn over cd's. Recenseren heeft een ander soort potentie: de potentie om de lezer ergens van te overtuigen. In de meeste gevallen is dat de overtuiging om het product te kopen. Voor het maken van een recensie, moet net als bij het analyseren, de auteur goed op de hoogte zijn van de context. Wil een recensent een plausibele indruk maken, dan moet deze bekend zijn met feiten die rondom de cd en de songs belangrijk worden geacht.

Eind conclusie Uit de voorgaande hoofdstukken blijkt dat weinig deelnemers geïnteresseerd zijn in het maken van analyses. Het gebruik van feiten staat vooral ten dienste van het ventileren van een mening. De songs leven nog, maar de discussies zijn afgezwakt tot het geven van een mening waarbij de eigen ervaring voorop staat. Vanuit het oogpunt van een wetenschapper, hebben de meeste fora te weinig relevante inhoud om bij te dragen aan het goed overdragen van kennis en het refereren naar bronnen is niet aanwezig of van magere kwaliteit. Sterker nog veel fora hebben geen informatiewaarde voor een buitenstaander. Dit zonder afbreuk te doen aan de waarde die de deelnemers zelf aan het deelnemen aan een forum hechten. Fora discussies worden bevolkt door deelnemers die weten hoe internet werkt en daarnaast geïnteresseerd zijn in discussiëren. Mensen die wel een mening hebben, maar niet in staat zijn of hiervoor geen gebruik willen maken van het internet, worden niet gehoord. Over het algemeen wordt aangenomen dat degenen die iets te zeggen hebben dat ook doen. Uit veel van de forums blijkt echter dat het niet vanzelfsprekend is dat ze ook echt iets zeggen. De meeste deelnemers komen niet verder dan een positieve of negatieve reactie, ongefundeerd en vaak zonder toegevoegde

34 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 waarde, waarbij de negatieve reacties op de (kwaliteit van de) songs veruit in de minderheid zijn. Daarnaast is er voor een wetenschapper een ander punt in fora wat tegen de borst stuit: het gebrek aan feedback. Het is niet te achterhalen waar de deelnemers hun informatie vandaan hebben gehaald. Zoals de fout in forum nr.4 van 'Cry For A Shadow': waar de deelnemer het jaartal 1964 vandaan haalt, is onbekend. Op deze manier gaan fouten een eigen leven leiden, waardoor de kennis over deze songs onoverzichtelijk en verwarrend wordt . Het zoeken naar gelijkgestemden, geeft bevestiging van de eigen mening. Daartegenover staat, dat een ieder die een tegenovergestelde mening heeft, niet welkom is op de site. Fora bestaan niet voor het bekritiseren van elkaar, maar om de eigen mening bevestigd te krijgen. Wikipedia is hierop een uitzondering. Niet alleen is het mogelijk om een eigen artikel in te voegen over een specifiek onderwerp, maar ook om artikelen van anderen te verbeteren. In deze encyclopedia zijn we onze eigen criticus en wordt er verwacht dat we anderen op hun fouten wijzen.

Aanbeveling voor vervolgonderzoek Deze thesis heeft meer vragen opgeroepen dan dat er beantwoord zijn. Het zou interessant kunnen zijn om te onderzoeken of naarmate de bekendheid van het internet toeneemt, ook meer deelnemers over deze muziek praten en of dat invloed heeft op het niveau van de gespreksinhoud op fora. Daarnaast zou een vergelijkend onderzoek kunnen worden gehouden tussen de instrumentale songs en de 'gezongen' songs. Een onderzoek naar alle Beatles fora zou tevens uit kunnen wijzen waarom deze instrumentals minder populariteit genieten dan bijvoorbeeld 'Yesterday' of ''.

35 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Bronnen voor de forums

Cat's Walk Geraadpleegd 20 januari 2009. Forum 1. http://www.walrusblog.net/cat-walk-cat-call/. Forum 2. http://www.musicmeter.nl/album/134212. Forum 3. http://www.petebest.net/forums/showthread.php?t=2953. Forum 4. http://www.amazon.co.uk/Hello-Goodbye-Songs-Beatles-Gave/dp/B000QFAEYQ. Forum 5. http://www.buyzillion.com/B000QFAEYQ/Reviews/Hello+Goodbye+Songs+the+ Beatles.html. Forum 6. http://www.nationmaster.com/encyclopedia/The-Man-Who-Loved-Cat-Dancing. Forum 7. http://answers.yahoo.com/question/index?qid=20080521171313AAixzTT. Forum 8. http://thebeatles.discutforum.com/the-beatles-f7/hello-goodbye-t176.htm Forum 9. http://lyricandmusic.info/?p=7704.

Cayenne Geraadpleegd 6 januari 2009. Forum 1. www.last.fm/music/The+Beatles/_/Cayenne. Forum 2. www.youtube.com/watch?v=xrLkXalAZNo. Forum 3. swisscharts.com/showitem.asp?key=67867&cat=s. Forum 4. www.free-ringtones-tonight.com/ringtone-4659. Forum 5. www.amazon.com/Anthology-1-Beatles/dp/B000002TYX. Forum 6. www.amazon.ca/V1-Anthology-Beatles/dp/B000002TYX. Forum 7. http://en.wikipedia.org/wiki/Cayenne_(song). Forum 8. http://www.techcrunch.com/2008/08/26/muxtape-reborn-unofficially-as-opentape/. Forum 9. www.musicbanter.com/general-music/21956-10-track-mixtape-thread-song-lists-without- links-will-deleted-49.html.

Cry For A Shadow Geraadpleegd 29 december 2008. Forum 1. http://www.last.fm/music/The+Beatles/_/Cry+For+A+Shadow. Forum 2. http://www.songfacts.com/detail.php?id=7395. Forum 3. http://www.beatlelinks.net/forums/archive/index.php/t-20524.html. Forum 4. http://hitparade.ch/showitem.asp?key=60975&cat=s Forum 5. https://www.rickenbacker.com/forum_view_thread.asp?thread_id=2389&forum=General _Forum&thread_name=cry%20for%20a%20shado%20tabs?. Forum 6.https://www.rickenbacker.com/forum_view_message.asp?forum=Sightings,_Artists,_and_ Events&message_id=65940&thread_id=5646&thread_name=Cry%20for%20a%20Shadow. Forum 7. http://en.wikipedia.org/wiki/Cry_For_A_Shadow. Forum 8. http://musik.ciao.de/Cry_for_a_Shadow_Beatles_The_Feat_Sheridan_Tony__1584659 Forum 9. http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendID=113995738& blogID=417522292.

36 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Flying Geraadpleegd 27 december 2008. Forum 1. http://www.songfacts.com/detail.php?id=135. Forum 2. http://artists.letssingit.com/the-beatles/flying/qxwzqfc/reviews/. Forum3. http://en.wikipedia.org/wiki/Flying_(song). Forum 4. http://www.songmeanings.net/songs/view/3530822107858643759/. Forum 5. http://magazine.jamsbio.com/2008/11/17/playing-the-beatles-backwards-songs-154-to- 150/ Forum 6. http://cdbaby.com/cd/capecodcovers2. Forum 7. http://www.sputnikmusic.com/album.php?albumid=2212. Forum 8. http://www.webomatica.com/wordpress/2006/12/03/music-notes-the-beatles-magical- mystery-tour/. Forum 9. http://rateyourmusic.com/release/album/the_beatles/magical_mystery_tour_f4/.

Revolution 9 Geraadpleegd 23 december 2008. Forum 1. http://www.mylot.com/w/discussions/675155.aspx. Forum 2. http://loki23.blogspot.com/2004/09/beatles-revolution-no-9.html. Forum 3. http://preflash-gordon.com/Music/Beatles/Revolution_No__9/body_revolution_ no__9.html. Forum 4. http://www.head-fi.org/forums/f9/revolution-9-a-40938/. Forum 5. http://en.wikipedia.org/wiki/Revolution_9. Forum 6. http://magazine.jamsbio.com/2008/11/10/songs-184-to-180/. Forum 7. http://nl.wikipedia.org/wiki/Revolution_9. Forum 8. http://www.songmeanings.net/songs/view/787/. Forum 9. http://www.beatlesagain.com/breflib/rev9.html.

37 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Literatuur Anoniem. 'Beatles lyrics - Main Songs'; www.dmbeatles.com (geraadpleegd op 12 januari 2009). Anoniem. 'Carnival of light fragment reversed'; www.youtube.com (geraadpleegd op 20 februari 2009). Anoniem. 'Cayenne'; www.beatles-discography.com (laatst geraadpleegd 6 januari 2009). Anoniem. 'Cayenne'; www.beatlesbible.com (laatst geraadpleegd 6 januari 2009). Anoniem. 'Chris Barber'; rateyourmusic.com (Geraadpleegd 20 januari 2009). Anoniem. '“Mythical” Beatles song confirmed'; news.bbc.co.uk (geraadpleegd 7 december 2008). Anoniem. 'Offical site of Tony Sheridan'; www.tony-sheridan.de (Geraadpleegd 11 februari 2009). Anoniem. 'Pansy Divison Cry For A Shadow Lyrics'; www.musicsonglyrics.com (laatst geraadpleegd op 9 januari 2009). Anoniem. 'Playing The Beatles Backwards'; magazine.jamsbio.com (Geraadpleegd 23 december 2008). Anoniem 'The Beach Boys timeline'; www.thebeachboys.com (geraadpleegd op 22 december 2008) Anoniem, 'The Beatles'; www.megaessays.com (geraadpleegd 11 februari 2009). Anoniem. 'The Beatles Carnival of Light'; web.me.com (geraadpleegd op 20 februari 2009). Anoniem 'The Beatles Introducing.... / Meet The Beatles'; www.discogs.com (geraadpleegd 20 januari 2009). Arsip Harian. 'Original Song Titles'; tatabeatles.wordpress.com (Geraadpleegd 19 januari 2009). Brennan, Joseph. 'The Usenet Guide to Beatles Recording Variations'; www.columbia.edu/~brennan (laatst geraadpleegd 7 januari 2009). Calkin, Graham. 'The Beatles Pages. The Alternate Magical Submarine Tour'; www.jpgr.co.uk (Geraadpleegd 19 janurai 2009). Davies, Hunter. The Beatles: the illustrated and updated edition of the bestselling authorized biography. Londen: Cassell, 2002. Geraghty, Ivor. 'Van Morrison, Lonnie Donegan, Chris Barber: The Skiffle Sessions--Live in Belfast'; World of Hibernia; Spring 2000, Vol. 5 Issue 4, p160. Kozinn, Alan. The Beatles. Londen: Phaidon 1995. McDonald, Ian. Revolution in the Head: The Beatles' records and the Sixties. Londen: Fourth Estate Limited, 1994. Miles, Barry & Badman, Keith. The Beatles Diary, The Beatles Years. Omnibus Press, 2001. Morris, Chris. 'Surf's up as new instrumental acts worldwide catch the wave'. Billboard; 4/23/94, Vol. 106 Issue 17. Norman, Philip. 'Washboard world'. New Statesman, 13647431, 12/12/97, Vol. 126, Issue 4364. Parfitt. 'Cliff and The Beatles, Influence'; www.cliffchartsite.co.uk (laatst geraadpleegd op 8 januari 2009). Pedler, Dominic. The Songwriting Secrets Of The Beatles. Omnibus Press, 2003. Pollack, Allan W. 'Notes on Flying'; oldies.about.com (geraadpleegd op 27 december 2008). Pruett, Jon. 'Commentaar op In The Beginning'; www.rhapsody.com (geraadpleegd 29 december 2008). Sullivan, Denise. 'Translator Biography'. www.allmusic.com (geraadpleegd 12 januari 2009). Swan, Timothy. 'The Beatles Introducing /Meet The Beatles w-11 bonus tracks'; www.amazon.com (geraadpleegd 20 januari 2009). Thorpe, Venessa. 'Forty years on, McCartney wants the world to hear 'lost' Beatles epic' www.guardian.co.uk (geraadpleegd op 29 december 2008) Thorogood. 'Cliff Richard and The Shadows'; www.menziesera.com (laatst geraadpleegd op 8 januari 2009). Unterberger, Richie. 'The Beatles Biography', www.allmusic.com (geraadpleegd 12 januari 2009).

38 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Bijlagen Woord vooraf...... 3 Introductie Beatles en muziek...... 8 Onderzoek...... 11 Hoofdstuk 1 Songs...... 13 Inleiding...... 13 Cat's Walk...... 13 Cayenne...... 14 Cry For a Shadow...... 15 Flying...... 16 Revolution 9...... 16 Hoofdstuk 2 Discussiethema's...... 18 Inleiding...... 18 Cat's Walk...... 19 Thema's van de fora...... 20 Cayenne...... 20 Thema's van de fora...... 21 Cry For A Shadow...... 22 Thema's van de fora...... 23 Flying...... 24 Thema's van de fora...... 25 Revolution 9...... 26 Thema's van de fora...... 27 Hoofdstuk 3 Verwerking...... 28 Inleiding...... 28 Fora...... 28 Herindeling...... 29 Categorie I meningen...... 31 Categorie II feiten...... 31 Categorie III Analyses...... 31 Categorie IV niet relevant...... 32 Categorie V grijze gebieden...... 32 Hoofdstuk 4 Conclusie...... 33 Inleiding...... 33 Categorieën...... 33 Eind conclusie...... 34 Aanbeveling voor vervolgonderzoek...... 35 Bronnen voor de forums...... 36 Cat's Walk...... 36 Cayenne...... 36 Cry For A Shadow...... 36 Flying...... 37 Revolution 9...... 37 Literatuur...... 38 Bijlagen...... 39 Inleiding...... 42 Forums Cat's Walk...... 42 Forum nr.1...... 42

39 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Forum nr.2...... 42 Forum nr.3...... 45 Forum nr.4...... 47 Forum nr.5...... 48 Forum nr.6...... 49 Forum nr.7...... 50 Forum nr.8...... 51 Forum nr.9...... 52 Forums Cayenne...... 53 Forum nr.1...... 53 Forum nr.2...... 53 Forum nr.3...... 55 Forum nr.4...... 55 Forum nr.5...... 56 Forum nr.6...... 58 Forum nr.7...... 59 Forum nr.8...... 60 Forum nr.9...... 64 Forums Cry For A Shadow...... 66 Forum nr.1...... 66 Forum nr.2...... 67 Forum nr.3...... 68 Forum nr.4...... 69 Forum nr.5...... 70 Forum nr.6...... 75 Forum nr.7...... 78 Forum nr.8...... 79 Forum nr.9...... 88 Forums Flying...... 89 Forum nr.1...... 89 Forum nr.2...... 92 Forum nr.3...... 93 Forum nr.4...... 95 Forum nr.5...... 95 Forum nr.6...... 99 Forum nr.7...... 102 Forum nr.8...... 110 Forum nr.9...... 113 Forums Revolution No.9...... 114 Forum nr.1...... 114 Forum nr.2...... 116 Forum nr.3...... 117 Forum nr.4...... 120 Forum nr.5...... 123 Forum nr.6...... 126 Forum nr.7...... 134 Forum nr.8...... 135 Forum nr.9...... 138

40 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Instrumental Discografie...... 140 Film Instrumental Discografie...... 141 Muziekvoorbeelden...... 142

41 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Inleiding In de aankomende paragrafen zijn de forums letterlijk overgenomen. Spelfouten zijn afkomstig van de persoon die het bericht geplaatst heeft.

Forums Cat's Walk

Forum nr.1 www.walrusblog.net/cat-walk-cat-call/

Walrus 11 december 2008 Cat Walk / Cat Call Paul McCartney’s passion for jazz and swing music is well known. It was a family heritage, his father having been a pianist in a little band back in the 40s. Paul himself had began playing the trumpet. So it’s no surprise some of his songs recall that style: the famous “When I’m 64” from Sgt. Pepper, “Honey Pie” from the White Album, not to forget “You Gave Me the Answer” from his solo album Venus and Mars. Of all these, “When I’m 64” was written during Beatles’ very early years. Some remember them playing it in Hamburg, as a quite break of their show. But there was another Paul’s song The Beatles used to play in those years: it was called “Cat Walk”. Here it is: http://nl.youtube.com/watch?v=KxeKGXvgfv8&eurl=http://www.walrusblog.net/cat-walk-cat-call/ (you can find it also in bootleg album “The songs The Beatles gave away”). Except this home recording, The Beatles never released this song. But in 1967 it was put on record by the Chris Barber Band, with another title (“Cat Call”) and Paul credited as the only author. Let’s listen to it: Delicious, isn’t it? I think it’s my favourite one of all songs The Beatles gave to other artists. Maybe the same as “It’s for You”. But we should talk about it later…

Forum nr.2 www.musicmeter.nl/album/134212

The Songs Lennon & McCartney Gave Away (1979); EMI 1. Ringo Starr - I'm the Greatest 2. The Stranges en Mike Shannon - One and One Is Two 3. Billy J. Kramer en The Dakotas - From a Window 4. Peter en Gordon - Nobody I Know 5. The Applejacks - Like Dreamers Do 6. Billy J. Kramer en The Dakotas - I'll Keep You Satisfied 7. - Love of the Loved 8. Peter en Gordon - Woman 9. Tommy Quickly - Tip of My Tongue 10. - I'm in Love

42 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

11. The Fourmost - Hello Little Girl 12. P.J. Proby - That Means a Lot 13. Cilla Black - It's for You 14. Carlos Mendes - Penina 15. Cilla Black - Step Inside Love 16. Peter en Gordon - World Without Love 17. Billy J. Kramer en The Dakotas - 18. Peter en Gordon - I Don't Want to See You Again 19. Billy J. Kramer en The Dakotas - I'll Be on My Way 20. Chris Barber - Cat Call

Toon1 15 augustus 2008, 2:37 uur. Deze LP uit 1979 bevat twintig nummers die John Lennon en Paul McCartney in hun Beatles- periode gaven aan andere artiesten. Al deze nummers werden op single gereleased. Hoewel sommige uitvoerders toch wel middelmatig zijn, staan er toch heel wat leuke nummers op. Het is vooral interessant om ze te vergelijken met de nummers die de Beatles destijds wel opnamen. Dan valt toch wel op dat de Beatles een paar nummers gerust zélf hadden moeten releasen. 'Hello Little Girl', 'Like Dreamers Do' en 'Love of the Loved' zijn drie Lennon-McCartney nummers die de Beatles al hadden opgenomen voor de befaamde Decca-auditie op 1 januari 1962. Wat mij betreft hadden ze deze nummers op hun eerste LP 'Please Please Me' mogen zetten, in plaats van covers zoals 'Chains' of 'Baby It's You'. 'I'll Be On My Way' hebben de Beatles wel opgenomen voor de BBC en is terug te vinden op de BBC Sessions-cd, maar had gerust nummers als 'Devil in Her Heart' of 'Till There Was You' kunnen vervangen op ''. In totaal staan er op deze plaat veertien nummers uit de periode 1963-64. Als de Beatles wilden hadden ze amper covers moeten opnemen voor hun albums. Dus enerzijds blijft het toch vooral vreemd dat ze voor 'Beatles For Sale' een paar minder interessante covers hebben opgenomen zoals 'Honey Don't' of 'Mr. Moonlight' of oude nummers zoals 'I'll Follow the Sun' terug opvisten, terwijl ze zoveel mooie nummers hadden weggegeven. Maar anderzijds valt wel op dat 13 van de 14 nummers uit 1963-64 van deze cd werden gereleased vóór augustus 1964, terwijl 'a Hard Day's Night' uitkwam op 26 juni 1964. Blijkbaar dachten de Beatles rond de tijd van 'A Hard Day's Night' (dat zoals bekend alleen maar Lennon/McCartney-nummers bevat) dat ze te veel eigen materiaal hadden en dus wat nummers konden weg geven. Maar 'Beatles For Sale' had in ieder geval veel sterker kunnen zijn als ze die covers hadden vervangen door een paar Lennon/McCartney nummers. Zeker als je weet dat maar liefst tien nummers van deze cd top-10 hits waren in hun thuisland Groot-Brittannië. '' van Peter & Gordon was zelfs een nr.1-hit aan beide kanten van de Atlantische Oceaan. Vanaf 1965 daalt het aantal nummers dat de Beatles aan andere artiesten gaven zienderogen. In 1965 brengt P.J. Proby 'That Means a Lot' uit, een nummer van Paul dat de Beatles aanvankelijk opnamen voor de Help!-LP maar uiteindelijk werd daar toch van afgezien. De versie van de Beatles staat op ''. 'Woman' is een prachtig McCartney-nummer dat een hit was voor Peter & Gordon in 1966. 'Cat Call' van the Chris Barber Band (1967) was een nummer dat ik nog niet kende maar ik herkende het deuntje wel; de Beatles speelden het namelijk in 1962 al in de Cavern-Club onder de titel 'Cats Walk'. Opnames daarvan zijn te vinden op bootlegs (evenals demo's van verschillende van de songs op deze cd). Van 'Step Inside Love' van Cilla Black (uit 1968) is Paul McCartney's vroege versie te horen op ''. Ook 'Penina' (1969) is een McCartney-song, voor Carlos Mendes. En laten we ook de openingstrack niet vergeten; een Ringo-Starr nummer uit 1973, geschreven door John, waar zowel Ringo als John als George in meespelen.

43 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Het bootleg-label Purple Chick heeft onlangs een nieuwe uitgave van deze plaat gecreëerd met tien bonustracks, want deze cd is niet volledig; er zijn namelijk nog een paar andere nummers die de Beatles wegschonken, waaronder een paar Lennon/McCartney songs. De bonustracks: 21. - (Een nummer van George uit 1968 en gereleased op single datzelfde jaar, op het Apple-label) 22. Black Dyke Mills Band – Thingumybob (een instrumentaal nummer van Paul - nog steeds onder de naam 'Lennon/McCartney', gereleased in 1968 op single) 23. – Goodbye (Grote hit, geschreven door Paul in 1968 en uitgebracht in 1969) 24. Badfinger - Come and Get It (Paul schreef deze Badfinger-hit en nam de demo op tijdens de 'Abbey Road' sessies van de Beatles. Terug te vinden op 'Anthology 3') 25. Cream – Badge (Deze single van Cream uit 1969 is een nummer gezamenlijk door Eric Clapton en George Harrison gechreven) 26. Steve Miller Band - My Dark Hour (McCartney/Miller nummer uit 1969 voor een Miller- album) Verdere bonustracks (opnames van enkele van de voorgaande nummers door andere artiesten. Dit waren overigens geen singles): 27. Billy J. Kramer & the Dakotas - I'm In Love (1963) 28. Gerry & the Pacemakers - Hello Little Girl (1963) 29. Jotta Herre - Penina (1969) 30. Cilla Black & Paul McCartney - Step Inside Love (Demo) (1967) 31. Orchestra - Thingumybob (1968) Voor wie nóg meer wil is er ook een 4-cd bootleg ('The Songs The Beatles Gave Away' op het Adam VIII-label) die ook nummers bevat die de ex-Beatles schreven na 1969 voor andere artiesten zoals .a. David Bowie, Roger Daltrey en Elvis Costello. CD4 bevat enkele demo's van de Beatles zelf. Hebben we dan alles? Nee, nog niet helemaal. Paul McCartney schreef in 1967 film-muziek voor de Britse film 'The Family Way', uitgevoerd door The George Martin Orchestra. Hiervan werd een single uitgebracht: Love in the Open Air / Theme From "The Family Way". Of Paul's broer, Mike McCartney, die in het duo McGough & McGear zat en een album in 1968 uitbracht waarvan de meeste nummers gepend waren door Paul. Daarnaast zou men ook de vele nummers kunnen compileren die de Beatles wél zelf opnamen en uitbrachten, maar door andere artiesten werden gecovered. Bijvoorbeeld de single 'Do You Want to Know a Secret/' van Billy J. Kramer & the Dakotas uit 1963, de top-10 hit 'You've Got to Hide Your Love Away' van uit 1965 of de single '' van uit 1966 (om er maar drie te noemen). Deze uitstekende LP is in ieder geval verplicht voor Beatlesfans, hoewel de meeste nummers hiervan (terecht) wel al bekend zullen zijn. Mijn persoonlijke favorieten: Ringo Starr - I'm the Greatest, The Applejacks - Like Dreamers Do, Cilla Black - Step Inside Love, Peter & Gordon - World Without Love, Billy J. Kramer & the Dakotas - Bad to Me. 4*

Father McKenzie 15 augustus 2008, 10:51 uur. Petje af voor de uitgebreide uiteenzetting van Toon1, thanks, mate! Ik heb het ook altijd jammerlijk gevonden dat véél van deze songs nooit door de Beatles op hun officiële platen werden opgenomen, ik vind World Without Love van één van de mooiste nummers in dit rijtje hier. De Peter van Peter & Gordon was Peter Asher, broer van het toenmalig lief van McCartney, de actrice Jane Asher. Op de John Lennon Anthology vind je ook Lennon's eigen versie van Ringo's I'm The

44 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 greatest, dus door Lennon geschreven. Ik ken al deze songs, die al jaren circuleren op allerlei verzamelaars, maar ook heel die meuk songs op één verzamelaar als deze is knap, en zoals Toon1 al aangaf; een must voor echte Beatles-fans! PS. @ Toon1; Ik vind door de mindere covers op Beatles For Sale precies ook dat album een dipje in het Beatles-oeuvre, al blijft er toch nog genoeg sterk materiaal over, waar de concurrentie alleen maar kon van dromen zulke prachtsongs te kunnen schrijven (en dan bedoel ik absoluut I'm A Loser, het schitterende No Reply, Baby's In Black, en I'll Follow The Sun) ****1/2

Lennonlover 20 augustus 2008, 11:02 uur. Was de eerste hit van de Rolling Stones ook niet door Lennon/McCartney geschreven? Waarom staat die er niet op?

Toon1 20 augustus 2008, 11:06 uur. Omdat deze compilatie alleen nummers bevat die de Beatles niet zelf opnamen. Zoals ik al zei in mijn eerste post "men zou ook de vele nummers kunnen compileren die de Beatles wél zelf opnamen en uitbrachten, maar door andere artiesten werden gecovered. Bijvoorbeeld de single 'Do You Want to Know a Secret/I Call Your Name' van Billy J. Kramer & the Dakotas uit 1963, de top- 10 hit 'You've Got to Hide Your Love Away' van The Silkie uit 1965 of de single 'If I Needed Someone' van The Hollies uit 1966 (om er maar drie te noemen)." 'I Wanna Be Your Man' zou ook passen in dit rijtje. Helaas bestaan er teveel Beatlescovers om er een compilatie van te maken.

Lennonlover 20 augustus 2008, 11:07 uur. Ah, all right Toon!

Father McKenzie 23 augustus 2008, 9:43 uur. Gelukkig staat de vreselijk slechte uitvoering van Ob-la-di, Ob-la-da van The Marmalade er niet op, dàt is een regelrechte verkrachting van een Beatlessong... maar dat kan hier niet opstaan omdat ze dit zelf hebben opgenomen dus.

Forum nr.3 www.petebest.net/forums/showthread.php?t=2953

Upsidius 2 september 2008, 04:06. Beatles Cavern Rehearsal Tapes I recently found these recordings on YouTube. I know Ringo has claimed to be the drummer, but they sound like Pete to me. Can anyone hear verify who the drummer is on "I Saw Her Standing There," "One after 909," and "Catswalk?"

Mikeandbrendab

45 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

22 september 2008, 06:13. Hi, do you have the links to theses so we can have a listen? Thanks Peace, Mike and Brenda

Admin 22 september 2008, 21:38 . We only have tapes of The Beatles playing at the Casbah. We've listened to them once in forty years.

Upsidius 22 september 2008, 21:38 . quote: Originally Posted by mikeandbrendab “do you have the links to theses so we can have a listen? Thanks Peace, Mike and Brenda” http://www.youtube.com/watch?v=sQGaB6scAnA

Georgefromhenley 26 september 2008, 22:40. Hi There - you mean you own a Beatles at Casbah recording (from 1961) that hasn`t been in Apples vault ... Good joke! Thorsten

Deanjb 26 oktober 2008, 17:49. Quote: Originally Posted by georgefromhenley “Hi There - you mean you own a Beatles at Casbah recording (from 1961) that hasn`t been in Apples vault ... Good joke!”

I did notice one of the comments about the recording. Someone says the song was written in Sept of 62 after Pete had left the group. But the PBB plays the songs that The Beatles played while Pete was still with them. I Saw Her Standing There is one of the songs the PBB play on tour. I'm assuming that Pete is saying that he played that song as a Beatle. The song is about Rory Storms sister Iris whom Paul was dating for a while starting in December of 61. It seems it does leave room for Paul to have written it while Pete was there. Of course Pete himself would be able to clear it all up.

Bandit66 27 oktober 2008, 06:12. "Standing There" is definately in it's embryonic stage-love the harmonica, but I think the real clue lies in the song Cat Call. It's not on Liverpool May 1960, yet it's not on the Star Club Tapes either. I read somewhere that MOST of the Lennon/McCartney originals were cut from the SC tapes in an effort to fudge the dates. Why no "" on the Star Club? weren't they trying to promote it??

46 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

AndyKC 28 oktober 2008, 02:41. In my highly correct opinion that version of I Saw Her Standing There was pretty naff...ploddingly slow and played with all the skill of a high school garage band, although granted it's just a rehearsal (but I've seen our guys rehearse and they sound tight even on first run-through). And any of you who can sing When The Saints Go Marching In give it a try with I Saw Her Standing There asthe backing music. You'll never listen to that song the same way again.

Bandit66 28 oktober 2008, 05:24 AndyKC, McCartney has admitted in many interviews that "I Saw Her Standing There" was written (musically, at least) around 's "I'm Talkin 'bout You" since it was the only bass run he could play at the time without mistakes. Word-wise, indeed it was Iris Caldwell that he saw standing there. I keep forgetting to ask Pete if The Beatles ever performed "I'll Follow The Sun" , "When I'm 64", or "I Call Your Name" while he was with the band.

Deanjb 30 oktober 2008, 05:25. Quote: “Andykc, McCartney has admitted in many interviews that "I Saw Her Standing There" was written (musically, at least) around Chuck Berry's "I'm Talkin 'bout You" since it was the only bass run he could play at the time without mistakes. Word-wise, indeed it was Iris Caldwell that he saw standing there. I keep forgetting to ask Pete if The Beatles ever performed "I'll Follow The Sun" , "When I'm 64", or "I Call Your Name" while he was with the band.”

B66: I did read where PMac is quoted as saying he "lifted" the bass line directly from the Berry song. Pete would be the man to ask to get the final word on what they played, although I think we would have heard the PBB playing them if they did.

Forum nr.4 www.amazon.co.uk/Hello-Goodbye-Songs-Beatles-Gave/dp/B000QFAEYQ

Hello, Goodbye: Songs The Beatles Gave Away Various Artists. 1. I'll Keep You Satisfied 2. Bad To Me 3. Tip Of My Tongue 4. Cat Call 5. Nobody I Know 6. That Means A Lot 7. From A Window 8. World Without Love 9. I'm In Love

47 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

10. It's For You 11. I Don't Want To See You Again 12. One And One Is Two

R. A. Cross "busheyrd" 10 Januari 2008, UK. Covering the Gaps. In the early days, when a Lennon-McCartney song was a sure way to the top of the charts, John and Paul were responsible for penning a number of exclusives for the likes of Billy J Kramer, Peter and Gordon, Cilla Black etc. The Beatles never released these songs themselves, though a handful have now surfaced on the 'Anthology' series. This album gathers together 12 of these songs but unfortunately not by the original artists. The album is credited as Various Artists, but on listening to the samples, with the exception of the instrumental 'Cat Call' the artists seem to be the same on each track and, unfortunately, not very good. The are very 60s but in some cases significantly different from the originals. In particular, Billy J Kramer's 'Bad To Me', one of the more familiar of the set, has been murdered! Whether by design or by accident, those songs which have since been released on the 'Anthology' series are mainly missing from this collection, thus no 'Step inside Love, or 'Hello Little Girl'. On the plus side, the majority of these songs are likely to be new to all but the most dedicated of Beatles fans. If it's the songs, and songs alone that you're interested in, then this release will plug most of the gaps in your collection, (but what happened to 'Love of the Loved' and 'Woman'?). However, it would have been much better to gather together a comprehensive collection by the original artists. Regrettably this issue is a poor substitute for the real thing.

Forum nr.5 www.buyzillion.com/B000QFAEYQ/Reviews/Hello+Goodbye+Songs+the+Beatles.html.

Hello, Goodbye: Songs The Beatles Gave Away Hello Goodbye: Songs The Beatles Gave Away contains rare gems written by Paul McCartney and John Lennon, but never recorded by The Beatles. Mastered at by former Beatles engineer Nick Webb, this album features a remarkable cast of musicians who recreated the incredible sounds of The Beatles--right down to the vintage guitars and amplifiers. Hello Goodbye gives the fans a chance to hear how these songs might have sounded if the Fab Four recorded them, which make this a must for every Beatlemaniac.

Anoniem. 12 januari 2008. The Association sings The Beatles? The vocals are too lightweight to really make you think this is The Beatles. It sounds more like the band The Association if anyone remembers them. They did a song called "Windy". Search out the similiary titled but infinitely better "It's For You: Songs The Beatles gave away" if you are interested in this type of thing.

Anoniem. 4 mei 2008 A song list. No track list available

48 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

1. I'll Keep You Satisfied - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 2. Bad To Me - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra . 3. Tip Of My Tongue - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 4. Cat Call - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 5. Nobody I Know - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 6. That Means A Lot - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 7. From A Window - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 8. World Without Love, A - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 9. I'm In Love - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 10. It's For You - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra. 11. I Don't Want To See You Again - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn /Siemen Terpstra. 12. One And One Is Two - Vinny Fazzari/Rory Campbell/John Hayes/Gus Gensere/Jan Van De Mei/Truce Mitchell/Nicole Da Luz/Jeff Hollie/Mickey Lluellyn/Siemen Terpstra.

Anoniem. 17 juni 2008. Lennon-McCartney songs Too bad they didn't use the original recording of the first bands to cover these songs, like Billy J Kramer, Cilia Black, and Peter & Gorden. More than that whats "Cat Call"? I have a book of ALL the sheet music, of the songs by Lennon- McCartney. No where is that listed nor have I ever heard of it.

Forum nr.6 www.nationmaster.com/encyclopedia/The-Man-Who-Loved-Cat-Dancing

Encyclopedia > The Man Who Loved Cat Dancing. The Man Who Loved Cat Dancing is a novel written by Marilyn Durham which was first copywritten 1972. The novel utilizes much symbolism, and has been called by many famous scholars "one of the deepest books of our time" (Jene 18). The book is famous for the original forward which was written by Durham's greatest friend, Billy Bowman (after whom the protagonist is named). The forward to this American societal masterpiece-- which was, ironically, never realeased within the book due to the deepness of the matters it deals with-- frequently mentions "pawns" and "kings" within the "societal castle." This forward can be found in the newer copies of this book, though they have been greatly changed by newer editors to keep the forward from becoming banned altogether. 1972 (MCMLXXII) was a leap year starting on Saturday. ...

49 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

The Man Who Loved Cat Dancing reached fame when John Lennon first began to spread the knowledge it holds around to the public; it was rumored to have inspired The Beatles' widely (but formerly enigmaticly) symbolic song "Three Cool Cats," as well as the instrumental masterpiece known as "Cat Call," which was never released due to the controversy of the subliminal messages which The Beatles whispered underneath the sounds of the instruments. Lennon said in an interview in 1979 that it contained the secrets and truths of life which he had found through reading Durham's The Man Who Loved Cat Dancing. John Winston Ono Lennon, MBE (October 9, 1940 – December 8, 1980), (born John Winston Lennon, known as John Ono Lennon) was an iconic English 20th century songwriter and singer, best known as the founding member of The Beatles. ...

Spoiler warning: Plot and/or ending details follow. The book ends with the crestfallen finding of a character named Willard Crocker's body, arms stretched upward, towards the Heavens. This famous passage is said to be the most controversial and symbolic part of this work of literature, and is deeply respected by avid readers and philosophers across the world. Ferris (Garden) 20th January 2009 What is the date this book has been written? If this book inspired The Beatles, then it has to be written before 1960... right?

Forum nr.7 answers.yahoo.com/question/index?qid=20080521171313AAixzTT

Dawnfire 8 maanden geleden. Resolved Question. How many songs did The Beatles write? i personally am not crazy about The Beatles. (although i luv yesterday) i think Hilary duff rocks but I was curious how many songs did The Beatles do?

Jennifer Best Answer - Chosen by Asker. 8 maanden geleden. hillary duff are you kidding me? what are you like 12? w/e they have over 300 songs [Voor de lijst zie originele bron]

[reactie] Asker 8 maanden geleden. 5 sterren. Comment: Thanks. And amazingly your very close to my age. (one year above). And i am crazy over hilary.

Andere antwoorden:

50 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Dahoe 8 maanden geleden. 67 & 1/2 Blu 8 maanden geleden. toooooooooooooo many lol

Alyse H 8 maanden geleden. Like 50! haha i dot know more than 50 they did alot

Webcraft [Voor de lijst zie originele bron]

Little Miss Vixen 8 maanden geleden [De rest van de lijst is verwijderd; voor de volledige lijst zie bron] Cat Call Lyrics

Forum nr.8 thebeatles.discutforum.com/the-beatles-f7/hello-goodbye-t176.htm

Rocky the Walrus (admin) 12 januari 2008, 14:08. Hello, Goodbye Les chansons que les Beatles ont données. The Beatles: Nowhere Forum :: The Beatles :: The Beatles En 1964, un journaliste a demandé aux Beatles pourquoi leur musique rendait les fans si hystériques. John a répondu, "Si on le savait, on aurait déjà monté un autre groupe et on serait devenus managers de celui-ci". Un nouveau CD, "Hello, Goodbye: Songs The Beatles Gave Away" sonne exactement comme s'il avait été enregistré par ce groupe imaginaire! Hello, Goodbye: Songs The Beatles Gave Away consiste en 12 chansons signée Lennon/McCartney qui n'ont jamais été enregistrée par les Beatles, interprêtées et enregistrées comme si elles avaient enregistrées en 1964! C'est ainsi que cet album, enregistré à Abbey Road pour plus d'authenticité, reprend ces chansons que les Beatles ont offertes (par obligation ou pas) dans un style semblable à celui des Beatles en '64! Ecoutez les extraits, vous verrez ça ressemble... Hello, Goodbye: Songs The Beatles Gave Away donne aux fans une véritable chance d'écouter ces chansons comme si elles avaient été enregistrée par les Beatles eux-même! Une jolie de pièce de collection pour tout fan de leur début... Track-list: 1. I'll Keep You Satisfied 2. Bad To Me 3. Tip Of My Tongue 4. Cat Call 5. Nobody I Know

51 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

6. That Means A Lot 7. From A Window 8. World Without Love 9. I'm In Love 10. It's For You 11. I Don't Want To See You Again 12. One And One Is Two Le style Beatles est assez bien reproduit ! Pour certaines chansons, on comprend pourquoi elles n'ont pas été retenue... Mais d'autres sont sympas.

Mr.Moonlight 15 november 2008, 22:28. Je les trouvent toutes différentes...

Lisa.in.the.sky 15 november 2008, 22:46. mr moonlight, tu te rend compte que tu déterre chaque topic un par un ?

Émilie 15 november, 22:48. J'avoue , arrête j'en peux plus , y a trop de nouveaux messages

Rocky the Walrus 16 november 2008, 0:58 Beuh... moi j'aime bien EDIT: oulà ! j'avais pas vu le nombre de topic déterré

Ju' 16 november 2008, 13:15. Wouaaaaa en effet ! Au ritme où je vais il va me falloir 3 jours pour tout lire XD

Forum nr.9 http://lyricandmusic.info/?p=7704

Admin The Beatles 21 februari 2008, 11:03 pm

The Beatles - Cat Call (Instrumental) Popularity: 2%

Jethro 20 januari 2009, 14:18. This is a really cool instrumental!! This is very Cool stuff! is it ever released?

Dalia 20 january 2009, 14:24.

52 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

True! pitty they didn’t release it. Only on bootlegs :S I wish could get it somewhere

Forums Cayenne

Forum nr.1 www.last.fm/music/The+Beatles/_/Cayenne

Cayenne (1:13). 16,447 listeners; 45,962 plays.

Revan0357 4 mei 2008 The Beatles – Cayenne Copyright - 1995 EMI Records Ltd. Cayenne is an instrumental track by The Beatles on the 1995 album Anthology 1. Unlike most songs by Paul McCartney while he was in The Beatles, it wasn't credited to Lennon/McCartney, but just McCartney. The track was recorded at a jam at McCartney's house in 1960. Stuart Sutcliffe plays bass.

Hantzlala September 2008. Chill instrumental

Retro_Saiyan October 2008. I love this tune!

Retro_Saiyan November 2008. 43,520 plays isn't enough!

Forum nr.2 www.youtube.com/watch?v=xrLkXalAZNo

Revan0357 4 mei 2008. The Beatles – Cayenne Copyright - 1995 EMI Records Ltd. Cayenne is an instrumental track by The Beatles on the 1995 album Anthology 1. Unlike most songs by Paul McCartney while he was in The Beatles, it wasn't credited to Lennon/McCartney, but just McCartney. The track was recorded at a jam at McCartney's house in 1960. Stuart Sutcliffe plays bass.

Wehategod

53 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

2 maanden geleden. You know this is quite erie but a really good instrumental....

[reactie] xxjonas101xx 1 week geleden. I definitely agree (:

Avialableman 4 maanden geleden. Sergeant Cayenne Pepper. Above the best Beatles' instrumental.

Draisens 4 maanden geleden. Good Song

Draisens 4 maanden geleden. It's only Sad That It's So Short.

Melito9791 5 maanden geleden. The correct title is "cayenne pepper"

Vytautas70 5 maanden geleden. WoW, I have no words, or maybe I have... they are GOD! iLoveClassicTV 5 maanden geleden. Agreed. Only a greater being could create such wonderful music.

Xxjonas101xx 1 week geleden. indeed!!!!! (: they are the greatest band that ever walked the planet(: john & george will forever be missed<3

Cappy14 6 maanden geleden. such an awesome song.

RetroMusicFan4 7 maanden geleden. Great song. iLoveClassicTV 8 maanden geleden.

54 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Cool! It's fun to hear something with Stuart Sutcliffe. 5/5!

Forum nr.3 swisscharts.com/showitem.asp?key=67867&cat=s

The Beatles – Cayenne (song) Year: 1995 Available on following media Version length Title Label Format Date num ber M edium 1:12 Anthology 1 Apple Album 14.10.1995 7243 8 34445 2 6 CD Reviews: Average points: 4 (Reviews: 5)

Rewer 20 november 2004, 00:04. ...gut...

NixIsFix 10 april 2005, 20:16. An instrumental written by Paul and recorded in his home 1960; see also ANTHOLOGY 1995 x5-452 11 februari 2006, 18:27. Finde ich nicht wirklich toll!!

Homer Simpson 19 januari 2007, 16:16. Gutes instrumental

GRUNGER 9 oktober 2008, 13:41. Ich find den Song gut!

Forum nr.4 www.free-ringtones-tonight.com/ringtone-4659

Beatles – Cayenne [video] Just download the free ringtone or tune and transfer it using PC, laptop or notebook to your mobile phone. Listen at leisure to as many free ringtones and tunes as you want before making your selections. Your mobile phone is not just an essential feature of modern living, it is an extension of your personality. Why pay more for the ring tones you want and need? Why pay anything? It’s not like your callers will know. In fact, they’d probably be more impressed if they knew you didn’t pay anything for the ringtones that broadcast you to the rest of the world. No need to spend a lot of time

55 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 or even effort to locate a great selection of free ringtones. Because you depend on your mobile phone for so much, you shouldn’t have to invest more in ringtones you can find for free. Because now, you can download free ringtones of all types and descriptions -- free and fast – through the great selection of mobile phone ringtones. comments

Jasmin 23 februari 2008, 13:33:47. The correct title is “cayenne pepper”

Esmeralda 7 maart 2008, 15:23:13. Agreed only a greater being could create such wonderful music.

Conan 13 maart 2008, 04:15:11. WoW, I have no words, or maybe I have... they are GOD!

Sly 11 april 2008, 06:41:48. Sergeant Cayenne Pepper. Above the best Beatles' instrumental.

Marcelyn 24 april 2008, 09:46:41. It's only Sad That It's So Short

Kath 5 augustus 2008, 02:12:06. Cool! It's fun to hear something with Stuart Sutcliff. 5/5!

Lyle 29 augustus 2008 You know this is quite erie but a really good instrumental....

Jonas 06 november 2008, 14:06:35 Such an awesome song.

Forum nr.5 www.amazon.com/Anthology-1-Beatles/dp/B000002TYX

Peter Xuereb 19 September 2003. Anthology 1 - Mainly for Beatles fans and collectors only. "" is a pleasant reunion between John and the 3 surviving Beatles (I agree with one of the reviewers below who said we're lucky to have that). The song was allegedly written about the

56 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 freedom Lennon felt after his deportation threats and "Lost Weekend". On with the rest of the album. It features interviews with John, Paul, and Brian Epstein. We have possibly the 1st Quarreymen recording: a 1958 scratchy recording of "That'll Be The Day" and an original "In Spite of All the Danger". There are more demos of this sort-"You'll Be Mine" and the instrumental "Cayenne". We have Tony Sheridan's fair sounding vocals on "My Bonnie" before The Beatles take over (with Pete Best, the original drummer) on "Ain't She Sweet" and "Cry for a Shadow". George sings lead on "3 Cool Cats" and Paul sings lead on "Besame Mucho". Also included is a flat-tempoed Pete Best on "Love Me Do" before Ringo replaces Best on "How Do You Do It" (I prefer theirs better than Gerry and the Pacemakers'). An early (and superior) version of "One After 909" finds its way. There's a more raucous demo of "Can't Buy Me Love" and The Beatles experimenting with harmonies on "8 Days..", with an electric 12-string on "", and with on "I'll Be Back". Great songs you never heard from The Beatles (until now) include "You Know What to Do" (George's 2nd song) and "Leave My Kitten Alone". And The Beatles really did sound well live, as witnessed by the 1963 recordings (most humorous is "Moonlight Bay" with Morecambre and Wise!) Also recommended is the CD single which includes demos of "", "I Saw Her Standing There", and the 1967 "Christmas Time (Is Here Again)". This is the most historical of the 3 Anthologies!

Steve Vrana 10 September 2005 The Holy Grail for Beatles Completists. The ANTHOLOGY series is definitely not for the casual fan. But for any true Beatles fan who grew up in the Sixties awaiting each new release, this first volume in the series presents a treasure trove of musical memorabilia from the Fab Four's genesis as the Quarry Men through 1964, when they spearheaded the and forever changed popular music. Disc 1 begins with the much ballyhooed "new" recording "Free As a Bird." It is a stunning track performed by Paul, George and Ringo recorded in 1994 using a 1977 John Lennon demo. Since the remaining tracks date from 1958 to 1964, this track seems out of place on ANTHOLOGY 1, but the advance hype of this song didn't allow for its delayed inclusion on ANTHOLOGY 3. What makes this first volume special is the historical importance of many of these tracks. While the sound quality is marginal on some of these recordings, where else will you find anything by the pre-Beatles group the Quarry Men or any Beatles tracks with Stu Sutcliffe on bass or Pete Best on drums? Most of the rarities are on Disc-1. Here are the previously unreleased highlights: "That'll Be the Day" / "In Spite of All the Danger": A 1958 recording by the Quarry Men. [Note: The latter track was written by McCartney-Harrison.] "Hallelujah, I Love Her So" / "You'll Be Mine" / "Cayenne": Home tapes featuring the only known recordings with Stu Sutcliffe on bass. "Searchin'" / "Three Cool Cats" / "The Shiek of Araby" / "Like Dreamers Do" / Hello Little Girl": Five songs from their 1962 Decca audition. Pete Best is on drums. The latter two tracks were Lennon-McCartney originals that they never recorded after securing a contract with EMI. "Besame Mucho" / "Love Me Do": From their initial 1962 EMI session produced by George Martin. Both tracks feature Pete Best on drums. "How Do You Do It": Brought to the group by George Martin to be used for their first single. The session features Ringo on drums. The song was eventually scrapped in favor of "Love Me Do." [Note: But labelmates Gerry & The Pacemakers would have a hit with it.] "One After 909": A 1963 attempt at a song that would not resurface until 1970's LET IT BE.

57 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

"Lend Me Your Comb": A 1963 BBC recording that was not included on 1994's LIVE AT THE BBC. Disc-2 contains fewer unreleased rarities: "Moonlight Bay": a comedic number performed in 1963 on "The Morecambe and Wise Show." The boys ham it up with the show's comedy duo. "": The live performance from The Beatles' historic first appearance on "The Ed Sullivan Show" in 1964. "Shout": A 1964 live performance of the Isley Brothers' song that never made onto another Beatles' recording. "You Know What To Do": A demo of a George Harrison original from 1964. The song was never completed. "Leave My Kitten Alone": Recorded for inclusion on BEATLES FOR SALE, Lennon provides the vocal on this cover of a Little Willie John number. Technically, all of the tracks on this collection are previously unreleased; but the above tracks represent mostly songs that were never released in any form until the release of ANTHOLOGY 1. The rest of the tracks are either live recordings or alternate takes. None of these songs are presented in their original released studio versions. So if you're looking for the recordings you remember, you'll be disappointed. But if you're looking for a glimpse at the formation of the most popular band in history, this is a must-have release. ESSENTIAL

Forum nr.6 www.amazon.ca/V1-Anthology-Beatles/dp/B000002TYX

Adam Bernstein "sixtiesuniverse" 14 April 2004. A Must Listen for all fans. Anthology I starts with "Free as a Bird", a demo by John filled in by the other 3 in 1994. The video is probably the best ever even if the song isn't quite up to Beatles standards. Then a recording from 1958 when John, Paul, and George were still the Quarrymen doing covers. Very rough, but fresh recordings. Then a few from Paul's house in 1960 including 2 originals, "You'll be Mine" (a song where they do their comic voices) and "Cayenne" (Paul's haunting instrumental) which are the only known recordings with Stu Sutcliffe on bass (the artist who left the band and died in Hamburg). It's got some good Decca recordings as well as the first takes of Love Me Do and Please Please Me (recorded on September 11th, 1962). Also the Tony Sheridan Hamburg songs. And some early takes of 1 after 909 from 1963. Lend Me Your Comb, a great cover. And then alternate takes of their more famous early songs. Get this and try to get your hands on the "Beatles: Live at the Star Club 1962", another great rough early recording. These recordings show how timeless The Beatles were.

Southwesternreview 27 feburari 2000. Anthology I Good Overview of Grubby Beatles. At the time this Anthology series first appeared, many critics claimed it was nothing more than a clever marketing ploy (tied in with TV specials, no less), cashing in on Lennon's premature death and the band's steady popularity. In retrospect however, the Anthologys do serve as an interesting anthropological study into the three specific layers of musical strata that comprise Beatles rock.

58 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Anthology I is (obviously) the foundation upon which everything else rests and is fairly detailed in accounting the band's formative period before metamorphosing into their studio polish. Of the two CDs included in this box, Disc One is the more disappointing of the pair. It begins with "Free As A Bird", one of John Lennon's weaker songs, remixed with new accompaniment by the three surviving band members. Once through this drudgery, the remainder of the disc captures The Beatles at their earliest inception, complete with poor sound quality. The sound on Disc Two is a bit better, and the band seems to have jelled into a formidable unit. Anthology I is also unique in that it includes several cover songs of American performers as diverse as Buddy Holly, , Chuck Berry and Little Richard. There are also numerous spoken introductions by the band members, as well as demos and false starts on "One After 909" and "Eight Days A Week". The energy level remains high and the boys seem almost giddy with excitement and creativity. Of the three Anthology releases, this one is probably the least necessary; however, for completists and those who want an interesting look into The Beatles at their earliest, Anthology I is a practical purchase. Personal Favorites: Disc One: a mockingly British attempt at "Besame Mucho", complete with "cha-cha-cha"'s; the driving train-ride of "One After 909". Disc Two: takes two and three of "I'll Be Back", wherein Lennon changes the rhythm of the song from a waltz to a 4/4 ; the skulking alternate take to Lennon's "No Reply".

A Customer 21 Juni 2004. Great way to steal our money. Don't get suckered into buying this. If these recordings had been previously rejected, it was for a good reason (yes, even if they are by the Fab Four!). Free As A Bird is a weak song and doesn't make purchasing an entire double album worthwhile. At the end of the day, it's just a way of squeezing money from unsuspecting beatlemaniacs.

Forum nr.7 en.wikipedia.org

Anoniem “Cayenne” Song by The Beatles Album Anthology 1 Released November 20, 1995 (UK) November 21, 1995 (US) Recorded April 1960 Genre Rock Length 1:13 Writer Paul McCartney Anthology 1 track listing “You'll Be Mine” “Cayenne” Speech (7) (8) (9)

"Cayenne" is an instrumental track by The Beatles on the 1995 album Anthology 1. Unlike most songs by Paul McCartney while he was in the Beatles, it wasn't credited to Lennon/McCartney, but just McCartney. The track was recorded at a jam at McCartney's house in 1960. Stuart Sutcliffe plays bass. Not much is known about the song. "Cayenne" may not even be the real name of it. On

59 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 bootlegs, it has been misnamed "Looking Glass" and "Thinking of Linking" (which is known not to be the real title, as it is well known that The Beatles did another unrelated track by that name). The version on the Anthology is shorter than the uncut version, which is two minutes and twenty-four seconds long.[1]

Notes. 1. The Beatles Bible: Cayenne. Retrieved August 18, 2008

Forum nr.8 www.techcrunch.com/2008/08/26/muxtape-reborn-unofficially-as-opentape/

John Biggs 26 augustus 2008. Muxtape Reborn, Unofficially, as OpenTape The RIAA shut down Muxtape but that doesn’t mean its memory won’t linger on the hearts of those who must share their love of the Hold Steady with the world. Enter OpenTape, an open source package that essentially recreates the Muxtape experience on a personal level. You simply download the application, unpack it on your web server, and then upload songs. It took me about two minutes to set-up OpenTape on CrunchGear’s server [embed works below but the main page doesn't... checking with opentape on Twitter] and a few more minutes to upload music. Voila! I actually applaud OpenTape for offering this tool. While it’s fairly basic, it creates hundreds, if not thousands, of targets for the RIAA and while they wrangle messily with poor Muxtape the concept will already be ubiquitous. Projects like these and OpenClip are cries for help - we want this functionality and we will take it by force if need be. Or maybe people just really like mixtapes.

Comments

Matt 26 augustus 2008, 14:32. John: It is not “Viola!” [a musical instrument] — It is “Voila!” a French word that means “there!” — Pronounced “Vooala!” Matt

[reactie:] John Biggs 26 august 2008, 14:34. Fixed. Fast fingers.

[reactie:] Nicholas Bieber 26 augustus 2008, 20:44. I had a friend in highschool that pronounced it “Viola”

T3chlusive 26 augustus 2008, 14:37. playlist.com here in will do it all way better and for free. There’s a review of Project

60 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Playlist here: http://tinyurl.com/playlistReview

[reactie:] Anoniem 27 augustus 2008, 16:16. Playlist.com? Aren’t they being sued by seven different labels right now?

Paul Maurice Martin 26 augustus 2008, 14:53. Never thought I could feel so nostalgic over a photo reminding me of an old technology…

Peter Urban 26 augustus 2008, 14:57. Great stuff, keep the RIAA busy hunting ghosts.

Aaron 26 augustus 2008, 15:03. Is this on shaky legal ground? If consumers are only putting up music they legally bought, is it legal? If muxtape was on shaky legal ground, playlist certainly is, so total deadpool or they’ll be forced to license on terms similar to pandora.

Sean Moran 26 augustus 2008, 15:06. I am STILL waiting for http://www.8tracktape.com or something. Let’s get really retro. Perhaps http://www.reel2reel.com? NOTE: domains parked, not porn as of this writing…

Stever 26 augustus 2008, 15:06. sorry for changing the name of the van morrison track to ‘Hi Mike’ — i didn’t think it would actually save.

Oliver Chesler 26 augustus 2008, 15:24. You put The Magnetic Fields in your mix… great taste!

Jason 26 augustus 2008, 15:29. This will be even easier for the RIAA to shutdown. A little cease and desist email to these cats along with a list of who downloaded and tool and you’ve got yourself a shut down service. go light, go tiny

[reactie:] Joost Schuur 27 augustus 2008, 12:14. I’d say we’re safe for a while until the RIAA works their way through the long list of people who’ve ever download & installed the Apache web server.

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[reactie:] Rudolf Olah 27 augustus 2008, 12:30. What if you’re running the software locally for your own local network? This would be really cool to check out on an open wifi network in the city.

Majento 26 augustus 2008, 15:43. Happy to see they are live and kicking, and yet i don’t think i’d download + install on server. Their player works & looks exactly like ProjectPlaylist, sorry but i’m not sure why it’s worth the effort?

Aaron White 26 augustus 2008, 17:56. was it confirmed that RIAA shut them down? Surprisingly, I thought Valleywag hit the nail on the head w/ bandwidth costs. I’m sure the RIAA sent a letter of some sort, but I don’t know if I believe that’s the reason it went down.

Michael Kimsal 26 augustus 2008, 18:10. I’m probably one of the most rabid Beatles fans out here, and ‘Cayenne’ is too much for even me! That’s beyond eclectic into madness!

Bobby_d 26 augustus 2008, 20:41. Although I applaud the resourcefulness of openTape, I don’t see how it addresses the two main problems with muxtapes: i)creating a monetizable, and on going music business. ii)resolving DMCA litigation. The average user doesn’t have access to a web server. Therefore, the distribution of this package doesn’t enhance the user experience in terms of controlling their playlist. It merely creates more digital musical silos for them to manage. Of course one could develop a business to search these silos to mediate this problem–but aren’t we all tired of a search-ad paradigm? Moreover, linking to copyrighted content isn’t protected under the DMCA (see tv-links case study) At it’s best, openTape de-evolves into a hype machine paradigm. I haven’t read or heard anyone discuss Gestalt design for Web 2.0. Personally, I think this has to be the new paradigmn. If you’re searching for something, you’re in a certain mood. Whereas if you’re communicating with someone, you’re in a different mood. Ultimately, this is why facebook will fail, since its essentially a glorified email + text messaging platform. Furthermore, Google, Msn, and Yahoo have failed to monetize their email and messaging services, and so will facebook– because they’ve failed to design for moods and a holistic design approach. Instead they’ve over- emphasized reductionist methodologies ie. functional requirements, At the present, sites are data- centric. Hopefully in the near future, sites will ideally be designed to affect users to consume something other than data. In short–think and design your website as an ongoing narrative with your users.

Dave

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26 augustus 2008, 20:49. Please stop writing about Mux tape, no one cares

Cawlin 26 augustus 2008, 20:58. The idea is nice but discovering more music was half the fun. Not to mention the whole limit on number of tracks. 24 track mix? Boo.

Scott Schiller 26 augustus 2008, 20:28. JS-driven sound is a personal interest of mine; I maintain a related JS + Flash sound API, which allows plain old HTML links to MP3s to be played “inline” (see a Muxtape-style demo.)

Jon 26 augustus 2008, 22:40. NICE. a side effect is that i can probably replace zina (andromeda clone–ancient mp3 upload/hosting tool) as i’d been running on the music portion of my site.

Georg Olsen 27 augustus 2008, 1:47. I believe less in Muxtape and more in sites like soundcloud.com when it comes to solving the (legal) playlist problem.

Dom 27 augustus 2008, 5:05. The issue with Muxtape - and now OpenTape - is that all you’re doing is uploading MP3s to a web server and telling people where they are. I am most definitely anti-RIAA, but this is the *most blatant* copyright violation there is. eg: here’s the link to one of your MP3s http://www.crunchgear.com/open.....iverse.mp3 Anyone can download it with no effrot at all, and you TechCrunch is quite clearly distributing copyrighted material without permission. See the problem?

John Biggs 27 augustus 2008, 9:22. valid point, Dom, but most DRM systems are trivial as well. The key is to find a paying audience and serve them. Until then, searching for ‘”Parent Directory” +Beatles +mp3′ in google is a great way to circumvent the RIAA as well.

Loren 27 augustus 2008 7:05. Fuk the RIAA !!!

Stuffiti 1 oktober 2008, 16:59. Some potentially legitimate uses for OpenTape? http://www.stuffiti.com/2008/1.....t-so-much/

63 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Forum nr.9 www.musicbanter.com/general-music/21956-10-track-mixtape-thread-song-lists-without-links-will- deleted-49.html

The 10 Track Mixtape Thread

FaSho 6 oktober 2008, 18:23. ^downloading...this looks ****in' sweet Matisyahu – King Without a Crown Matisyahu – Ancient Lullaby Matisyahu – Unique is My Dove Matisyahu – Late Night In Zion Matisyahu – Shalom / Saalam Matisyahu – Wp Matisyahu – Jerusalem Matisyahu – What I'm Fighting For Matisyahu – Dispatch The Troops Matisyahu – Time Of Your Song

FaSho 10 oktober 2008, 13:01. what happened to this thread? anybody download my last mix?

Davey Moore 10 oktober 2008, 22:14. How do I make a list?

Cork 11 oktober 2008, 12:48. [quote=sweet_nothing;527952]This is a playlist my super cool canadian friend made, but since my computer sucks and I can't enjoy it i'm passing it on to all of you, that's how much I love you guys. Jackhammer 11 oktober 2008, 13:39. Quote: Originally Posted by Davey Moore How do I make a list?

PMO's Easy Peasy Guide to Uploading Your Own Compilations

WaspStar 11 oktober 2008, 14:11. Quote: Originally Posted by Kirby Always Coming Back Home To You : Atmosphere One of my favorite songs. Ever. 'Nuff Said. Just listen. This is one of the best songs I've heard in a long time. I'll really have to check out more of their work.

64 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Davey Moore 12 oktober 2008, 20:29. Mixtape #1 - Favorite Lesser Known Beatles Songs: You Never Give Me Your Money(Abbey Road) I really think this is a great song, I love all the different sections. Cayenne(Anthology, Volume 1) This is a cool little instrumental by Paul, it sounds like he was trying to make a chilled out surf song, and I personally love a guitar solo that is surfy. Besame Mucho(Anthology, Volume 1) This is Paul singing some Spanish songs, with the lyrics translated into English. It's a cool little tune. I'm Looking Through You - Take One(Anthology, Volume 2) A slower chilled out version of a song on . Teddy Boy - Demo(Anthology, Volume 3) An interesting thing about is that there are some songs that appear as demos on this album and aren't on any one of the albums and end up being released on whoever wrote the song's solo album. For instance, this appeared on Paul's first solo album after the break up. But here's the thing, I like the song, and it was released on a CD that says "The Beatles", so it counts technically as a Beatles track. Junk (Anthology, Volume 3) This is a peaceful little acoustic Paul song. All Things Must Pass - Demo(Anthology, Volume 3) A beautiful demo of a beautiful song. What's The New Mary Jane(Anthology, Volume 3) Another one of those experimental songs, it's basically John, Yoko and George improving with various things. Step Inside Love-Los Paranoias(Anthology, Volume 3) This is a nice sounding little diddy the guys did. Why Don't We Do It in the Road - Take 4(Anthology, Volume 3) It's basically the song, but it's only an acoustic guitar and Paul. Some lyrics slightly changed. Once again, great vocal performance. I'll Follow the Sun(Beatles For Sale) I don't know how obscure this song is, but it definitely isn't one of their popular songs. Beautiful. Dig It(Let It Be) Fifty seconds from a ten minute jam, with John improvising lyrics, put onto Let It Be. It's a great jam as a whole but this is basically the best part, so it's cool they put it on the album. Anna (Go to Him)(Please Please Me) A song I hadn't heard before and I really like the hook of the song. Boys(Please Please Me) Typical 50s sounding rock song. Really cool and quick, I hadn't heard it before today. A Taste Of Honey(Please Please Me) Not a popular song, but I love it. Has a really interesting beat and instruments. The music sounds like it should have been in the later part of the sixties. http://download285.mediafire.com/54t...xtape+%231.zip

4ZZZ 12 oktober 2008, 20:35. Ace Davey. You rock

Piss Me Off 13 oktober 2008, 08:26. Oooo thank you!

65 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Bulldog 16 oktober 2008, 18:12. Ok, I'm new to Mediafire, but here goes. I'm in the midst of making a 3-disc compilation for a mate and 'cos I'm in that sort of mood (I can't ****ing sleep) I'll share some of it here. Disc 1 - Sweet Reggae Music Sweet Reggae Music.rar 1. Barrington Levvy - Sweet Reggae Music 2. Aswad - 54-56 Was My Number 3. Damian Marley - Welcome To Jamrock 4. Steel Pulse - Your House 5. Peter Tosh - Stepping Razor 6. Black Uhuru - Sponji Reggae 7. Big Youth - The Killer 8. Burning Spear – Lion 9. The Abyssinians - South African Enlistment 10. Mighty Diamonds - I Need a Roof 11. Third World - Jah Glory 12. U-Roy - Wear You To the Ball 13. The Simplicity People - Rhythm Style 14. Jimmy Cliff - You Can Get It If You Really Want I'll post the other two discs if I can be bothered.

Forums Cry For A Shadow

Forum nr.1 www.last.fm/music/The+Beatles/_/Cry+For+A+Shadow

The Beatles » Tracks Cry For A Shadow (2:20) 61,972 plays (22,046 listeners) [video]

Hadesbeatle El Mejor tributo Beatle en Mèxico [video: youtube]

Greatwhitewonde April 2008. This is not the original beatles version!!!!!

Puntomaupunto Juli 2008. I agree with greatwhitewonde - this is certainly not The Beatles' version. I daresay this is a rerecording by someone else made in the 80s.

66 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

[deleted-user] Oktober 2008. This is song of George and John! Don't you hear solo of George?!

Hantzlala Oktober 2008. idiots it is the original version.off the anthology vl. 1

DrowsyDragon Oktober 2008. People,people....http://en.wikipedia.org/wiki/Cry_for_a_Shadow. Anyway, I love this! The solo is stuck in my head.

Retro_Saiyan Oktober 2008. This song is da best!

Dabbik Donderdagochtend. Holy shit I think this song must be the most underrated of all beatles song's! Amazing, this is very cool stuff for instrumental in '61!!!

Forum nr.2 www.songfacts.com/detail.php?id=7395

Cry For A Shadow by The Beatles Album: The Beatles Anthology 1 Released: 1961 [luistervoorbeeld]

Songfacts: Inspired by the music of the group The Shadows, this instrumental was written by George Harrison and John Lennon - their first and last collaboration for any Beatles song credit. (thanks, Ryan - London, England)

Comments:

Linc Beaumont, TX This song comes from the time of Wipeout, Walk Don't Run, Take Five and Horse - all largely instrumental rock pieces...it was probably proformed live a lot because sometimes as a performer on a long set you need a few minutes to rest your voice and catch your breath.

Steve Dotstar Los Angeles, CA not muchof a song,but done nicely by the 4 lads from Liverpool!HI Paul!

Matthew

67 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Melbourne, Australia This is currently the 8th most played song on my iPod. I love it!

Moshe Lavie Givataim, Israel A cool piece of guitar.

Moshe Lavie Givataim, Israel A cool piece of guitar!

George Belleville, NJ This song is really cool in it's style,done way back in the early sixties and has a lot of enthusiasm in the rocking sound of the guitars mixed with the screams in the background.I think it is an excellent insrumental as The Beatles were just starting to stretch their musical muscles and show what they can do even in this early stage of their career.

Forum nr.3 www.beatlelinks.net/forums/archive/index.php/t-20524.html

Herbskillet 2 januari 2005, 20:39. anybody know where i can find tabs for Ain't She Sweet, Cry For a Shadow or any other songs that The Beatles recorded in Hamburg? i've tried playing it by ear and i just cant get the right chords or notes.

Asha 3 januari 2005, 11:56. Hmmm, looks like we'll have to work these two out. I've seen Cry For a Shadow played. It's actually not that hard from what I remember. But of course, I'd have to work it out. I'll try to remember to do that to help you out, but with my busy schedule, somebody might beat me to it! http://www.beatlelinks.net/ubbthreads/images/graemlins/wink.gif http://www.beatlelinks.net/ubbthreads/images/graemlins/sun.gif

Arturo1 4 januari 2005, 01:56. Which songs and guitar do You need? Chords and tune will do it? I'll check my archive at home, but have to know what to look for. Bass is interesting in Ain't She sweet. herbskillet 4 januari 2005, 11:12. Mainly just Ain't She Sweet and Cry For a Shadow (cause those songs kick ass) and i also need all the guitars that were used and also the tunings if you have them.

68 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 beatlebangs1964 15 januari 2005, 18:41. So right about those songs, Skillet!

Forum nr.4 hitparade.ch/showitem.asp?key=60975&cat=s

The Beatles - CRY FOR A SHADOW (SONG)

Jahr 1964 Musik/Text John Lennon, George Harrison Produzent Bert Kampfert Tracks: 7" Single Polydor 52 275 1964 1. Cry For A Shadow 2. Why Durchschnittliche Bewertung: 4.73 (Reviews: 11)

Rewer 20 november 2004, 0:11. 4 sterren. ...gut...

Hankmart 21 april 2005, 22:12. 4 sterren. im März 1964 versuchten sich die Beatles als Instrumentalband, aber es blieb bei diesem Versuch....(vielleicht waren The Shadows froh darüber?)

Wolf 23 april 2005, 17:46. 6 sterren. Ich glaub das war eher 1961 als 1964. Einziger Beatles Song der von George Harrison und John Lennon verfasst wurde.

Voyager2 12 september 2005, 10:35. 5 sterren. Einer der bemerkenswertesten Titel aus ihrer Frühzeit (1961) ist dieses Instrumental.

TheDude 9 februari 2006, 01:33. 6 sterren Hervorragendes Instrumentalstück. x5-452 11 februari 2006, 18:31.

69 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

6 sterren. Spitzenmässiger Track

Homer Simpson 19 januari 2007, 16:17. 6 sterren. der einzige Harrison/ Lennon Track

Southpaw 24 februari 2007, 22:28. 4 sterren. So klangen also die Shadows, wenn sie nicht selbst im Studio waren. Schöne Harrison-Gitarre, reicht aber nicht für 5 Punkte.

Remember 18 juni 2007, 19:35. 3 sterren. Weniger..

Oski.ch 30 november 2007, 16:57. 3 sterren. Sind das Pilze auf dem Plattencover? Ein Schelm, wer dabei an Halluzinogene denkt...

GRUNGER 9 oktober 2008, 13:46. 5 sterren. Gutes nettes Lied

GRUNGER 9 oktober 2008, 13:46. 5 sterren. Gut

Der Kommissar 25 oktober 2008, 20:23. 4 sterren. wenn ich mich nicht sehr irre, die einzige Harrison/Lennon Komposition überhaupt. Typische Instrumental Nummer von 1962 im "twang" Stil der Shadows. 4-5

Forum nr.5 www.rickenbacker.com/forum_view_thread.asp?thread_id=2389&forum=General_Forum&thread_ name=cry%20for%20a%20shado%20tabs?

Topic: Cry For A Shado tabs?

70 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

MattP123 18 juni 2006, 18:57:00. anybody have the tab to "cry for a shadow" or know where i can find it? oddly when i google it all i get is the lyrics, even though its an instrumental. it is one of my favorite early beatles songs. thanks in advance *and dont mind the spelling error in the topic name... oops!

Ricplayer 19 juni 2006, 4:01:00. I think i've got it at home somewhere, if I can find it let you know later on. Steve

MattP123 19 juni 2006, 12:31:00. thanks steve. in the mean time i'll keep looking around the web.

Ricplayer 19 juni 2006, 15:36:00. Found 1 page and it was a scan of the notation. I have downloaded a midi of it and put it though MidiNotate but again is in standard notation. i have tried importing it into both guitar pro and powertab but it misses out a lot of the lead. If you can read standard notation I can forward it to you, if not and you can wait a little while I can transcribe it to tab for you. Steve

MattP123 19 juni 2006, 16:01:00. both would be prefered since most tabs usually lack any hint of timing. thanks!

Flashback 19 juni 2006, 18:04:00. Hi There, Had the same issue as you and followed a lot of internet leads to nowhere! Our guitarist eventually spent a long weekend picking it out note by note! I'll speak to him tonight and see if he'll write out the tab for you. Incidentally, I have the Bass Tab for Cry for a Shadow if you're interested. (and for other songs from that era of The Beatles) Chers for now Duncan

Ricplayer 20 juni 2006, 9:54:00. MattP Check your email. Tabs will follow as soon as I get a chance. Steve

71 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

MattP123 20 juni 2006, 14:28:00. thanks steve! i'll start workin on it tonight once i brush up on standard notation. the last time i was really reading music was on a bassoon in bass clef... a few years ago...

Flashback 4 juli 2006, 18:18:00. Hi Steve, Just wondering if I could get a copy of your notation for Cry for a Shadow?. Our guitarist isn't happy with his version. Thanks Duncan

Colombo 5 juli 2006, 2:16:00. Is that notation that of the lead guitar, or that of the rhythm guitar? I've been able to learn the bass part, and something that sounds like the lead guitar (although it's not completely right), but I cannot find out how to play the rhythm guitar, specially the intro.

Ricplayer 5 juli 2006, 2:40:00. Matt, sorry haven't had the time to do the tab yet, let me know if you still need it and I should have some free time to get it done. Duncan, No problem I will try to get it through to you when I finish work today. Colombo, It is a rip from a midi file using Midinotate, so you end up getting fake sheets for all guitar parts. Steve

MarkRevel 5 juli 2006, 7:07:00. "Our guitarist eventually spent a long weekend picking it out note by note!" I've been playing since the late '70s...remember when this was the ONLY way to learn songs? Lifting the needle & putting it back down, over & over. Fortunately, I had a great memory in those days so it made the process easier. Mark

Abeatle 5 juli 2006, 7:54:00. Colombo. Is that opening that you're looking for (in the key of "G")----- D7 to a D7addE, then proceeding to G-A D7 for the chord structure??? Thanks

Ricplayer 5 juli 2006, 8:57:00. quote: Our guitarist eventually spent a long weekend picking it out note by note!" I've been playing since

72 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 the late '70s...remember when this was the ONLY way to learn songs? Lifting the needle & putting it back down, over & over. Fortunately, I had a great memory in those days so it made the process easier.

Ah the good old days that's the same way I learnt to play most of the songs back then. If I was lucky, sometimes I would get a piece of sheet music that was right and take it off of that. But I must admit from the disc is still the way I prefer to learn songs but by pressing the pause button on the CD player instead of lifting the needle obviously. Steve

Ricplayer 5 juli 2006, 9:47:00. Duncan Check your email Steve

Flashback 5 juli 2006, 16:01:00. quote: Our guitarist eventually spent a long weekend picking it out note by note!" I've been playing since the late '70s...remember when this was the ONLY way to learn songs? Lifting the needle & putting it back down, over & over. Fortunately, I had a great memory in those days so it made the process easier.

Mark, I used to learn songs by the 'Lift the needle' method before the days of the internet. Like you I had better memory back then! I'm pretty much a rhythm player these days and leave the lead to the younger guys!. Steve, Thanks for your email.

Colombo 6 juli 2006, 00:20:00. quote: Colombo. Is that opening that you're looking for (in the key of "G")----- D7 to a D7addE, then proceeding to G-A D7 for the chord structure??? Thanks abeatle, it might be; I'd have to check it (I haven't got internet at home and I haven't got either the guitar or the recording here). What you say would be, in the original key of C, G7 to G7addA, and then C-D-G7. The two first chords seem likely, since the only thing I can pick up from that intro is a kind of melody (that is, what I would hum if I had to sing that intro) consisting of G-A-B-A-G-A- B in the four bars before the solo guitar enters. It is as if I had to play that melody in the bass strings while playing chord in the treble strings, or something like that. And when the verse begins, I think I notice the same chord in the first four bars, then another in the fifth and a third chord in the sixth bar (I may be taking nonsense, trying to sing all that in my head), before going back to the first one for the remaining two bars. Would those be your G-A-D7 (that is, C-D-G7)? I had always thought it would be a I-IV-V-I progression, but since I'm a real disaster, it can be anything. As for the middle eight (or whatever it is called), I'm at a loss.

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For some reason, I can pick up melodies; that's why I can play the bass part and -more or less- the lead guitar (I say "more or less" because at some points it plays two notes at the same time, and I'm not sure I've got them, and besides I never know when to do bendings and all that). But I'm hopeless at picking up chords and rhythms. Even if I knew the right chords to the song, I don't think I would be able to play it right and with a modicum of grace. Steve, would you be so kind as to send me a copy of the notation you've got? I can read music, so standard notation would be enough, and very useful to learn the rhythm. I'm trying to learn to use the "lift the needle" method (although with the pause-back buttons of the CD player, since I don't like to wear out my vinyl records more than necessary), but it's SO hard... Sometimes I feel so desperate when I cannot find out what a chord is that I try C-C#-D-D#-..., and then Cm-C#m-Dm-D#m-... (getting added 7ths, 9ths and so on is top marks, when I just want to scrape through the test!) The worst of it all is that when I try that I cannot find the chord, either!

Ricplayer 6 juli 2006, 3:39:00 Colombo, I will e-mail you the stuff tonight from work. Steve

Ricplayer 6 juli 2006, 9:25:00. Colombo Check your email. Steve

Colombo 7 juli 2006, 3:57:00. Steve, I've just checked my e-mail and saved the files. Thank you very much for your kindness! I think I'll be able to make good use of the transcriptions. Last night I tried to play the chords suggested by abeatle, but couldn't find out where to play each of them. Arg! By the way, could anybody tell me how I should play the initial G chord so I can add the A note easily? I twisted my fingers in every possible way, buy I couldn't find the way. Thanks!

Abeatle 7 juli 2006, 5:08:00. Colombo, this is probably wrong (I'm not with a guitar at the moment), but if you bar the fifth fret and play an (open D7th form)-(which would look like an upside down "D") on strings 1,2 and 3 (frets 6 and 7) you might be able to accomplish what you are trying to do. The fifth fret is barred, the sixth fret is noted on string two, and the seventh fret is noted on strings one and three, You simply lift your finger off of the seventh fret (first string) to get your "A" note.- Thanks

Colombo 7 juli 2006, 9:19:00. quote: Colombo, this is probably wrong (I'm not with a guitar at the moment), but if you bar the fifth fret and play an (open D7th form)-(which would look like an upside down "D") on strings 1,2 and 3 (frets 6 and 7) you might be able to accomplish what you are trying to do. The fifth fret is barred,

74 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 the sixth fret is noted on string two, and the seventh fret is noted on strings one and three, You simply lift your finger off of the seventh fret (first string) to get your "A" note.- Thanks

Hi abeatle, I'll try what you've suggested. Without the guitar I cannot tell that I've understood it all, but I've copied your text and I'll try it at home. However, I think I remember that the A note was played on the bass strings, not the treble strings (the melody I mentioned, G-A-B-A-G-A-B was below higher chords, I think). Thank you very much for your help.

MattP123 8 juli 2006, 23:20:00. quote: Matt, sorry haven't had the time to do the tab yet, let me know if you still need it and I should have some free time to get it done. no problem, i think i kinda got it. can fake my way through it lol. but if youve got it tabbed out, a "second opinion" wont hurt.

Forum nr.6 www.rickenbacker.com/forum_view_message.asp?forum=Sightings,_Artists,_and_Events&messag e_id=65940&thread_id=5646&thread_name=Cry%20for%20a%20Shadow

Topic: Cry For A Shadow

Cormorant25 4 mei 2007, 5:05:00. I've been learning Cry for a Shadow note for note from the recording. I've played along with it dozens of times and I'm starting to wonder if someone other than George is playing lead. When you focus in on some of the little details and nuances, it just seems so much more professional, skillful and polished than anything else I've heard from George on other recordings in the early/mid 60's. Maybe a studio sat in? Anyone know if The Beatles ever played this song live? Any other thoughts?

Shaggydawg 4 mei 2007, 5:24:00. Well, a quick Internet search reveals that the song was written by GH as a parody of Hank Marvin (of the Shadows) licks. So chances are it's GH playing. The song was apparently performed live throughout 1961 during the Tony Sheridan days. It's allegedly the first Beatle composition ever to appear on record, when released in France on Tony Sheridan's "Mr. Twist" EP.

Studiotwosession 4 mei 2007, 5:24:00. Maybe they had a bit more time with that session. After all, the first Beatles album was cut in 12 hours. I don't think that left a lot of time for getting every not just they way they wanted it.

75 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

DaleFortune 4 mei 2007, 6:50:00. It's George..You are underestimating his his ability... George was still a teenager at the time but very experienced in worldly ways. Just listen to Lennons 325 with it's thin treble tone laying down the beat and rhythm behind those bending notes of the melody played on his Resonet Futurama. G/c-G-G/c-G-G/c-G-G7.... C-Am-C-Am-C-Am-C-Am-F-G-C-Am-C-Am..... E/E7-A/A7-D/D7- G/G7.. back to verse. Fun song to play, it gets everyone jumpin'

RICandVOX 4 mei 2007, 11:37:00. quote: It's allegedly the first Beatle composition ever to appear on record, when released in France on Tony Sheridan's "Mr. Twist" EP.

That's true. The Polydor EP release in April of 1962 in France that included "Cry For A Shadow" (featuring George on lead guitar) was the first time any of The Beatles had one of their compositions issued on an official record. "Cry For A Shadow" was written by George Harrison and John Lennon and it would be several years after this release before George Harrison would once again share a songwriting credit with John Lennon.

Studiotwosession 4 mei 2007, 13:12:00. I imagine you're talking about commercially available record. After all, they made a record a local shop, which contained original material, and predates CFS.

Cormorant25 4 mei 2007, 14:13:00. I see that I'm the only skeptic here. I dunno--there are some quick little notes and bends hidden in that song that make me wonder...Anyone have Pete Best's email address? I'll bet he'd dime out The Beatles. Well, maybe George just had a lot of time to practice in Hamburg. He did a great job with the song--not one flub. It's a great tune. We're gonna include it with a bunch of surf instrumentals we do. Sounds great on my 360 with toasters.

RICandVOX 4 mei 2007, 14:37:00. quote: I see that I'm the only skeptic here. I dunno--there are some quick little notes and bends hidden in that song that make me wonder...Anyone have Pete Best's email address? I'll bet he'd dime out The Beatles.

Pete Best would know who played what on "Cry For A Shadow" because he was there at the session. I've read accounts of Pete's days with The Beatles including his book "Beatle! The Pete Best Story," viewed the DVD "Best of The Beatles Pete Best: mean, moody and magnificent" plus

76 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

I've talked to him in person. Believe me, if any member of The Beatles had a studio musician "sit in" on that recording session, you would have heard about it by now. Since 1961, Pete has never stated that a studio musician played on "Cry For A Shadow." quote: Well, maybe George just had a lot of time to practice in Hamburg. He did a great job with the song--not one flub.

By George, I think you've got it!

Whitford 4 mei 2007, 15:02:00. I hate to admit it... but I wondered too about this track. It's probably George, but the sound, even more than the playing, leads to me to believe that it is possible it's somebody else. I've heard Tony Sheridan's name mooted in regards to this issue. Probably George, but I have some doubts.

RICandVOX 4 mei 2007, 16:27:00. quote: I hate to admit it... but I wondered too about this track. It's probably George, but the sound, even more than the playing, leads to me to believe that it is possible it's somebody else. I've heard Tony Sheridan's name mooted in regards to this issue. Probably George, but I have some doubts. You can hear Tony Sheridan and George Harrison both playing lead on the same song but it is not "Cry For A Shadow." The lead guitar work of Tony and George is featured on "My Bonnie." In a letter from May of 1962, George Harrison wrote, "When Tony sings, then it's me playing lead, but the break in the middle is Tony playing. The shouting in the background is Paul." You can speculate all you want on who played the lead on "Cry For A Shadow" however in all of the interviews and recollections of those who were there at the session including The Beatles and Sound Technician Karl Hinze, there appears to be no question that it is George. One "Cry For A Shadow" document not only lists Harrison and Lennon as composers, but also the Arrangers of the song.

Studiotwosession 4 mei 2007, 17:56:00. I like it almost as much as Flying.

Davclr 4 mei 2007, 18:48:00. Let's not forget that there is also another "Harrison/Lennon" composition out there although it's not formally credited as being such: And that song is "Taxman" on the Revolver L.P. Both John and George in their post-Beatles years have admitted to this. The "declare the pennies on your eyes" line in Taxman was written by JWL for George as he claimed in the famous lengthy Playboy interviews he did in 1980 shortly before his death. L

Cormorant25 4 mei 2007, 19:11:00. Ok, after listening to the two lead guitars in My Bonnie a few times, and then comparing it to Cry

77 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 for a Shadow, I agree that George is playing on Cry. In My Bonnnie you can hear a bit of clunkiness in George's fills compared to Tony Sheridan's smooth and flowing leads. It's like night and day. That same clunkiness appears in Cry for a Shadow in a few spots. Case closed.

Forum nr.7 en.wikipedia.org

Anoniem “Cry For A Shadow” Single by The Beatles B-Side “Why” Released 27 March 1964 (single) 30 November 1994 (Anthology 1) Recorded 22 June 1961 Genre Rock Length 2:20 Label Polydor Writer(s) Harrison/Lennon Producer "Cry for a Shadow" is an early Beatles instrumental. It was recorded on June 22, 1961 at the Friedrich-Ebert-Halle, Hamburg-Harburg, Germany while they were performing as Tony Sheridan's backup band for a few tracks. It was written by George Harrison with John Lennon as a parody of The Shadows style. (The Shadows, who backed Cliff Richard were the biggest British instrumental rock & roll group at the time of the recording.) It imitates the lead guitar with typical Hank Marvin licks, the melodic bass fills, and even has an imitation during the second middle 8 of the famous Jet Harris yell. It is the only Beatles track to be credited to Lennon and Harrison alone. It was intended to be released as the b-side of "Why," another Sheridan song with The Beatles, but the record company chose to release another song instead. In early 1964, as The Beatles were gaining popularity, the record company Polydor decided to release it, with "Why" changed to the b- side.[1] According to , editor of the newspaper, Cry for a Shadow's original title was "Beatle Bop". [2] [3] It was also released much later in 1995 as part of the Anthology 1 compilation. It is the only Beatles song to have been sold via iTunes Store, however the track has since been removed. "Cry for a Shadow" is also the name of a song from Beat Happening's 1991 album Dreamy. In 1996, San Francisco new wave group Translator was paid its highest compliment when Beatles fans mistook their cover of "Cry for a Shadow" for a new recording by the Fab Four from the Anthology sessions. [4] Coincidently, the producer of the cover, David Kahne, would later produce records for Paul McCartney. [5]

Personnel • John Lennon guitar • Paul McCartney bass • George Harrison lead guitar • Pete Best drums

References

78 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

1. ^ The Beatles Bible: Cry For A Shadow Retrieved Aug. 25, 2008. 2. ^ "History of The Beatles' Singles". http://www.dermon.com/Beatles/Singlehistories.htm. Retrieved on 2005-10-07. 3. ^ "Cross, Craig. Cry for a Shadow". http://www.beatles-discography.com/uk- singles.html#cryforashadow. Retrieved on 2005-10-07. 4. ^ "Cry for a Shadow cover: AMG Translator Biography". http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dpfqxql5ldhe~T1. Retrieved on 2008- 05-12. 5. ^ "McCartney's Memory Almost Full credits". http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gvfixzy5ldje~T2. Retrieved on 2008- 05-12.

Forum nr.8 musik.ciao.de/Cry_for_a_Shadow_Beatles_The_Feat_Sheridan_Tony__1584659

Schalke04 27 december 2000. 4 sterren. Für echte Beatlefans unentbehrlich Anthology Vol.01 - The Beatles Pro: wertvolle dolumentarische Aufnahmen Kontra: etwas teuer Empfehlenswert? ja. Als in 1995 die Anthology-Serie der Beatles erschien, stellten sich wohl auch viele Hardliner unter den Beatle-Fans die Frage, ob sich eine Investition in diese nicht ganz billigen CDs wohl lohnt. Na ja, klar ist auf jeden Fall, dass man die Qualitätsdichte der originären Beatles-Alben auf keinen Fall erwarten durfte. Wer aber einzigartige Tondokumente aus der Karriere der Fab Four (und die begann nicht erst 1962) und einen Einblick in ihre - zum Teil recht chaotische - Arbeitsweise erwartete, wurde mit Sicherheit nicht enttäuscht. Mit der nachstehenden Rezension (Anthology 2 und 3 werden folgen) möchte ich allen alten und neuen Beatle-Fans eine Entscheidungshilfe zum Erwerb oder Nichterwerb dieser Doppel-CD geben. Die CD beginnt mit einem Stück, das es als Beatle-Song eigentlich gar nicht gibt: FREE AS A BIRD. Dieser Song wurde von John Lennon in 1977, also lange nach der Trennung der Beatles, aufgenommen. George, Paul und Ringo versahen diese Version 1994 mit zusätzlichen Gesangsspuren, Bass-, Lead- und Akustik-Gitarre. Sicherlich hätte dieses Stück in der großen Beatle-Zeit nicht die Chart-Spitzen erreicht, aber für die Fans hatte es gewiss einen Reiz, mal etwas "Neues" von den Fab Four zu hören. Nach einem 12sekündigen Interview-Schnipsel von John mit vom - Magazin hört man die allerersten Platten-Aufnahmen von George, John und Paul, damals als "Quarry Men". Tontechnisch sicher keine Offenbarung, aber natürlich von großem historischen Wert. Neben dem Buddy Holly-Hit THAT'LL BE THE DAY ist mit IN SPITE OF ALL THE DANGER eine Harrison/McCartney-Komosition zu hören. Nach einem weiteren Interwiew-Stück (Paul mit Mark Lewisohn, einem Beatle-Experten) folgen drei amateurhafte Aufnahmen, die von John, Paul, George und Stu Sutcliffe in Pauls Wohnung gemacht wurden: HALLELUJAH, I LOVE HER SO sowie YOU'LL BE MINE und CAYENNE, für die die Beatles selbst als Komponisten genannt werden. Historisch sicherlich sehr interessant, aber klang- und spieltechnisch miserabel. Noch ein kurzer Interwiew-Ausschnitt (Paul McCartney) und dann geht es richtig los: Mit MY

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BONNIE, AIN'T IT SWEET und CRY FOR A SHADOW, letzteres eine Instrumental-Komposition von Lennon/Harrison folgen erstmals Aufnahmen, die professionellen Ansprüchen genügen, allerdings nicht unter dem Namen "The Beatles". Haupt-Star war Tony Sheridan; die Beatles fungierten als Begleitgruppe und tauchten auf dem Cover als "Beat Brothers" auf. Die Aufnahmen fanden während ihres zweiten Hamburg-Aufenthalts 1961 statt. Die Single-Auskopplung MY BONNIE war sicherlich entscheidend für die gigantische Karriere der Beatles, denn sie weckte das Interesse von Brian Epstein für die Vier. Nach zwei weiteren Wortbeiträgen (John Lennon und George Martin) folgen fünf Songs aus einer Aufnahmesessen Pete Best. Alle Songs wurden direkt und live eingespielt und sollten einen Plattenvertragion in den Decca Studios Neujahr 1962: SEARCHIN', THREE COOL CATS, THE SHEIK OF ARABY, LIKE DREAMERS DO und HELLO LITTLE GIRL. Schlagzeuger war bei diesen Aufnahm mit Decca ermöglichen. Dass dies nicht geschah, war wohl eine der größten unternehmerischen Fehlentscheidungen des letzten Jahrhunderts. LIKE DREAMERS DO und HELLO LITTLE GIRL - beides Beatle-Kompositionen - wurden später nochmal von zwei anderen Liverpooler Gruppen, die unter Epsteins Regie standen, aufgenommen, den Fourmost und den Applejacks. Nach einem weiteren Wortdokument (Brian Epstein) folgen zwei Aufnahmen aus der ersten Aufnahmesession unter George Martin in den Abbey Road-Studios am 6. Juni 1962: BESAME MUCHO und LOVE ME DO. Auch diese Aufnahmesession führte noch nicht zu einer Veröffentlichung, obwohl sie mit LOVE ME DO schon den ersten Beatle-Hit enthielt (allerdings in einer anderen Version). In einer weiteren Abbey-Road-Session wurde am 4. September 1962 HOW DO YOU DO IT aufgenommen. Am Schlagzeug saß ein gewisser Ringo. George Martin wollte diese Komposition von Mitch Murray als A-Seite der ersten Beatle-Single haben, aber sie genügte nicht den Qualitätsansprüchen der Beatles. Sehr mutig damals, sich dem mächtigen George Martin zu widersetzen. Eine Woche später nahmen sie PLEASE PLEASE ME auf, das später zum Top-Hit avancierte, allerdings in einer etwas anderen Version, dabei vor allem ergänzt um Johns Mundharmonika. Als nächstes folgen zwei Versionen von ONE AFTER 909, gesungen von John Lennon in der Tradition des Rock'N'Roll der Fünfziger Jahre. Die erste Version wurde zeitweise unterbrochen und soll wohl die Stimmung im Aufnahmestudio dokumentieren. ONE AFTER 909 erschien letztendlich erst 1970 auf der LP "Let It Be", allerdings in einer neuen, 1969 aufgenommenen Fassung. Der nächste Song, LEND ME YOUR COMB, stammt aus der BBC-Radioserie "Pop Go The Beatles". Dieses Stück erschien nicht auf dem 1994er Album "Live At The BBC". I'LL GET YOU ist ein Stück aus der TV-Sendung "Sunday Night At The London Palladium". Bei dieser Live-Aufnahme werden schon die Ausmaße der späteren Beatles-Hysterie deutlich. Nach einem weiteren Interwiew-Ausschnitt von John Lennon und Jann Wenner folgen fünf Beatles- Klassiker, die 1963 in Stockholm live für eine Radio-Sendung aufgenommen wurden: I SAW HER STANDING THERE, , MONEY, YOU REALLY GOT A HOLD ON ME und . Schweden war das zweite Land, das die Beatles nach ihren Hamburg-Aufenthalten besuchten. Die ersten drei Songs auf der zweiten CDs stammen aus der "Royal Variety Show" am 4. November 1963: , TILL THERE WAS YOU und . Insbesondere die dritte Aufnahme wurde berühmt durch Johns scherzhafte Aufforderung an die Zuhörer auf den teuren Plätzen, mit den Juwelen zu rasseln, statt in die Hände zu klatschen. Die nächsten vier Aufnahmen - THIS BOY, , "BOYS, WHAT I WAS THINKING" und MOONLIGHT BAY stammen aus der britischen TV-Comedy-Serie "The

80 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Morecambe And Wise Show", wobei es sich bei den letzten beiden Titeln nicht um Beatle-Songs, sondern um humoristische Einlagen handelt, die sich dem Nicht-Engländer nicht unbedingt erschließen. Bei CAN'T BUY ME LOVE handelt es sich um eine Aufnahme in den EMI-Studios Paris während ihrer Konzertserie im Pariser Olympia. Diese Aufnahme wurde später in den Abbey Road-Studios weiter bearbeitet. ALL MY LOVING ist eine Aufnahme aus der amerikanischen "Ed Sullivan Show". Die Show brach alle Einschaltquoten-Rekorde und löste die Beatlemanie in den USA aus. YOU CAN'T DO THAT und AND I LOVE HER stammen aus den Aufnahmesessions am 25. Februar 1964 in den Abbey-Road-Studios für den ersten Beatle-Kinofilm, "A Hard Days Night". Da der Soundtrack vor Drehbeginn am 2. März fertig sein musste, standen die Beatles unter erheblichem Zeitdruck. Der Titelsong - A HARD DAY'S NIGHT - wurde erst am 16. April produziert, eine Woche nach Beendigung der Dreharbeiten. Die Version auf "Anthology 1" wurde nicht für den Film und die LP verwendet, aber das Gelächter beim Ausklang des Stückes gibt etwas von der Stimmung wieder, die zu dieser Zeit im Studio herrschte. Noch während sie mit der Produktion von "A Hard Day's Night" beschäftigt waren, arbeiteten die Beatles im April 1964 für das TV-special "". Dabei wurden die Stücke I WANNA BE A MAN, , BOYS und SHOUT aufgenommen. I'LL BE BACK, ein Song des Albums "A Hard Days Night", das aber nicht zum Soundtrack gehörte, wurde in einer einzigen Session aufgenommen. Hier sind die ersten zwei Aufnahmen zu hören, die zwar nicht veröffentlicht wurden, aber sehr schön die Arbeitsweise der Vier dokumentieren. Bei YOU KNOW WHAT TO DO handelt es sich um George's zweite Eigenkomposition überhaupt (nach "Don't Bother" Me). NO REPLY wurde am 3. Juni 1964 aufgenommen und es war zu diesem Zeitpunkt vorgesehen, es Tommy Quickly, einem Sänger, der bei aus Epstein unter Vertrag stand, zu geben. Später beschloss man, es für das nächste Album, "Beatles For Sale" zu verwenden und nahm es im September noch einmal auf. MR. MOONLIGHT und LEAVE MY KITTEN ALONE wurden für das Album "Beatles For Sale" aufgenommen, aber nur MR. MOONLIGHT wurde verwendet, allerdings nicht in dieser Version. Noch einmal NO REPLY, aber diesmal aus den Aufnahmen für "Beatles For Sale" und in einer Version, die John Lennon wohl für das Album bevorzugt hätte, denn er sagt zum Schluss: "Well, we just found out what to do, anyway - it's good". Allerdings war diese Version - wegen des Gelächters zwischendurch - nicht zu verwenden. Bei dem zwei folgenden Varianten des Songs EIGHT DAYS A WEEK wird deutlich, in welch verschiedenen Stimmungsbildern die Beatles ihre Songs aufnahmen, bevor sie als gut genug für die Veröffentlichung erachtet wurden. Die Aufnahmen stammen aus Oktober 1964. Bei KANSAS CITY/HEY-HEY-HEY-HEY! handelt es sich um ein Rock'N'Roll-Medley, das schon 1959 von Little Richard gesungen wurde. Diese Version unterscheidet sich etwas von der letztendlich auf "Beatles For Sales" erschienenen Fassung. Tja, jetzt habe ich vielmehr geschrieben, als ich eigentlich wollte, aber so geht es einem Beatle-Fan nun mal. Und ähnlich wird es euch auch ergehen, wenn ihr Beatle-Fans seid. Kaufen, hören, träumen, forschen, lesen. Diese Doppel-CD ist nicht nur zum nebenbei Hören (geht aber auch), sondern für diejenigen, die einfach alles über die Fab Four hören und wissen wollen. Und sie sollten wieder einmal in ihrer Meinung bestätigt werden: DIE BEATLES WAREN DIE ALLERGRÖSSTEN!

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Manwah 17 april 2006. 3 sterren. Musikgeschichte hören Anthology Vol.01 - The Beatles Pro: Alternativversionen - die Anfänge der Beatles erleben Kontra: teils verheerender Sound - musikalisch nicht immer das Beste Empfehlenswert? Nein CD 1 Prolog ~~~* Bevor die erste Anthology Sammlung der Beatles beginnt, wird der geneigte Zuhörer zunächst mit einem Songfragment aus dem Nachlaß von John Lennon gequält, dass Paul McCartney weiter bearbeitete und ohne schamrot zu werden bei Erscheinen dieser Anthology 1995 als Beatles Song zu verkaufte. Dieser langsame Kuschelsong aus der Schublade ist bestenfalls kurios, John rotierte sicher im Grab als er das hörte. Geschichte ~~~* Die Quarry Men traten in Gestalt von John Lennon (Gitarre, Gesang), Paul McCartney (Bass, Gesang)und George Harrison (Gitarre, Gesang) zusammen. Schnell wurden sie zur Hochzeitsbandattraktion in Liverpool. Als solche bekamen sie einige Probeaufnahmen, der Drummer und der Pianist waren nur kurze Zeit im Line-Up Man hört hier eine talentierte Popband, die "That'll Be The Day" von Buddy Holly covert und dann unverzüglich mit "In Spite Of All The Danger" zu einem Lennon/McCartney Song kommt. Nach der Absage verließen die beiden Sidemen die Band und aus den Quarry Men wurden über einen kleinen Umweg über "Silver Beetles" die Beatles. Um 1960 stieß noch Stuart Sutcliffe zu diesem Trio. Da er ebenfalls Gitarre spielte fehlte immer noch ein Drummer. 1960 konnte das Quintett erneut Probeaufnahme ergattern, hatte aber mangels Drummer keine Chance. Die Aufnahme der drei Songs Hallelujah, I Love Her So (Ray Charles) You'll Be Mine (Ink Spots) Cayenne (Lennon/McCartney) ist grottenschlecht und nur als historisches Dokument zu sehen. Sie liefert auch keine wirklich neuen Erkenntnisse. Hamburg ~~~* Die Beatles begleiteten Tony Sheridan als Background Band nach Hamburg und nahmen dort mit ihm ein paar Songs auf, die tatsächlich in die deutschen Charts kamen und auf verschlungenen Pfaden auch Liverpool erreichten, wo die Titel zu regionalen Hits wurden. My Bonnie Ain't She Sweet Cry For A Shadow (Harrison) wurden von Bert Kämpfert produziert und liegen hier nach Myriaden von schrecklichen Aufnahmen in exzellenter Qualität vor. Das sind die ersten kleinen Steps in Richtung Beatles - vor allem das Gitarrespiel von Harrison läßt schon hier aufhorchen - durfte er doch auch einen eigenen Song beisteuern. Inzwischen hatten die Beatles mit Pete Best auch einen Stammdrummer gefunden - und auch beim Managment zeichnete sich eine Lösung ab.

82 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Brian Epstein, Inhaber eines Plattenladens in Liverpool, wurde auf sie aufmerksam und bot an ihr Managment zu übernehmen. Durch seine Verbindungen zur Plattenindustrie organisierte er eine Probeaufnahme bei Decca. Als sich heraus stellte, dass die Beatles Hamburg verlassen würden, stieg Sutcliffe aus um seine Freundin zu heiraten. Decca ~~~* Decca hörte sie an und das lange verschollene Band mit den Beatles Aufnahmen ist hier in sensationeller Qualität zu hören. Die Beatles spielen: Searchin' - ein klasse Rock'n'Roll Song, der frech von McCartney gesungen wird und in typischer Manier von den anderen begleitet wird. Three Cool Cats (beide Leiber/Stoller) - ist ein netter Popsong Song, ebenfalls von McCartney gesungen. Sheik Of Araby (Wheeler/Snyder) - klingt ein wenig albern, obwohl diese Uptempo Nummer sicher schwer ist, wird's etwas austauschbar. Like Dreamers Do - ist ein furchtbarer Versuch so schmalzig wie Elvis zu klingen. Gruselig! Hello Little Girl (beide Lennon McCartney) - wird durch einen tollen Satzgesang geprägt. Spätestens beim letzten Song hätte den Decca Leuten aufgehen müssen, welcher Schatz hier vor ihnen stand. Aber die Absage kam prompt mit der Begründung: "Gitarrenbands haben keine Zukunft" EMI ~~~* Als nächstes Vorspiel kam die EMI dran und George Martin bestand darauf, eine Coverversion aufzunehmen. So wurde eine ebenso engagierte wie schreckliche Version von Besame Mucho aufgenommen. George Martin war angetan - nur nicht vom Drummer der Band. Warum, hört man auf dieser Aufnahme von Love Me Do genau. Pete Best liegt mehr als einmal etwas daneben und versemmelt den Rhythmus total. Deshalb ist der Song hier deutlich langsamer als die später erschienene Singleauskopplung. Pete Best wurde geschaßt und durch Richard Starkey aka Ringo Starr ersetzt. Doch auch mit ihm war Martin zunächst nicht zufrieden und besorgte noch einen Sessiondrummer, Alan White, der auf der ersten Single zu hören ist. Von nun an wurde es rasant. Martin wollte mehr hören und von nun an arbeitete man an einem regulären Album. Please, Please Me ~~~* "Love Me Do" war erschienen und enthielt gegen den Willen George Martins zwei Lennon/McCartney Songs (P.S. I Love You auf der B-Seite). Die erste Single war mehr als ein Achtungserfolg und stieg auf Platz 21 der Single Charts. Mit der zweiten Single "Please, Please Me" erreichten die Beatles zum ersten Mal die Nr. 1 in den Charts und schafften das mit jeder weiteren Single. Das Line Up hatte sich stabilisiert und so waren es die Beatles, die alle heute kennen: George Harrison - Gitarre, Gesang, später Sitar John Lennon - Gitarre, Gesang, Piano, Harmonika Paul McCartney - Bass, Gitarre, Gesang, Piano, Schlagzeug Ringo Starr - Schlagzeug, Percussion, zuweilen Gesang (auf jedem Album einmal) George Martin als "fünfter" Beatle am Mischpult Nach "Love Me Do" wollte Martin endlich seine Coverversion und legte den Beatles "How Do You Do It" vor, dass Lennon brav einsingt. Klingt nett und Harrisons Gitarrensolo ist sehr schön - aber

83 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 alles wirkt etwas brav... Lennon/McCartney hatten die richtige Antwort und legten "Please, Please Me" vor und Martin war platt. Der Song ist klasse. Ein Ohrwurm! Hier ohne Harmonikabegleitung und mir gefällt diese Version fast besser als das Original. Schick und schnörkellos. "One After 909" wurde schon hier eingespielt, aber verworfen, weil angebliche bessere Rock'n'Roll Songs vorlagen. Hier hört man zwei Fassungen, die beide extrem reizvoll sind und beide abgebrochen werden, weil die Beatles sich nicht über den Rhythmus einig werden. Im dritten Anlauf klappt's dann und ist – woooow... Noch ein Song, der's nicht auf das Album geschafft hat. Ringo sollte seinen Song singen und es geht schrecklich schief. "Lend Me Your Comb" ist hübsch instrumentiert - aber die Ringo Parts sind schrecklich. I'll Get You I Saw Her Standing There Money You Really Got A Hold On Me Roll Over Beethoven liegen hier als Live Aufnahmen vor. Das erste ist in London aufgenommen und hier gibt's schon kreischende Teenager en masse Die anderen Songs wurden in Stockholm aufgenommen und präsentieren die Beatles als geniale Liveband. Vor allem "I Saw Her Standing…" und "Roll Over Beethoven" Sensationell! Zwischen einzelnen Songs hört man noch ein paar Sprachfetzen McCartneys, die wohl erhellendes beitragen solle, aber eher in üblich Macca-Manier pseudokomisch wirken. CD 2 Live ~~~* She Loves You Till There Was You Twist And Shout Inzwischen schon beim zweiten Album "With The Beatles" angekommen spielten die Beatles unzählige Liveauftritte. Zwischen den Alben veröffentlichten sie auch noch jedes halbe Jahr eine neue Single, die dann nie auf den Alben enthalten war. Der Startsong dieser zweiten CD "She Loves You" war so einer. Ihn gab es nur auf Single oder auf später erschienen Kompilation - dabei ist hier das "Yeah, Yeah, Yeah" der frühen Beatles enthalten. Diese drei Songs wurden bei der legendären Royal Variety Show 1963 aufgenommen, galten eigentlich als verschollen und zeigen die Beatles nicht nur muikalisch in Hochform. John Lennons Aufforderung an die Loge des Königshauses gerichtet, die Reichen mögen mit den Juwelen klimpern zeugte von durchaus komödiantischem Talent. This Boy I Want To Hold Your Hand Boys What I Was Thinking Moonlight Bay Die ersten beiden Songs waren Standardprogramm der Beatles - danach kamen die Speziaitäten. Die Aufnahme dieser vier Songs stammt aus einer Fernsehaufnahme bei einer Comedy-Show und am Ende machen die Beatles lustigen Nonsens, der sich einem nicht so recht erschließt. Can't Buy Me Love enstand am Rande einer Konzertreihe in Paris. Hier bekommt man den rauhen Probenmix zu hören,

84 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 der dann in London weiter bearbeitet wurde und, natürlich ein Superseller wurde. All My Loving Mittlerweile kannte man die Beatles auch in den USA und so wurden sie in ein nationales Fernsehereignis eingeladen. Die Beatles sollten in der Ed Sullivan Show auftreten. Sie besuchten Sullivan vier Mal und spielten dort insgesamt19 Songs. Auf Anthology ist nur "All My Loving" übrig geblieben. A Hard Days Night (Mitte 1964)~~~* You Can't Do That And I Love Her A Hard Days Night wurden für das neue Album und den ersten Beatles-Kinofilm aufgenommen. Alle drei Songs liegen hier als Atlternativversionen vor. Das sind die spannendsten Momente der Anthology-Serie. Man kann den Beatles über die Schulter schauen und die Entwicklung zum fertigen Song verfolgen. An diesen drei Songs wurde noch ziemlich gefeilt. Aber man hört auch den Spaß an der Sache. Da wird gescherzt und gelacht. Danach ging's mal wieder ins Fernsehstudio. Die Filmproduktion war noch nicht abgeschlossen, aber für die Show "Around The Beatles" spielten sie mit I Wanna Be Your Man Long Tall Sally Boys Shout vier Rock'n'Roll Klassiker ein, die einen auch heute noch mit den Füßen wippen lassen. Hier bestechen wieder einmal die aus dem Ärmel geschüttelten Livequalitäten der Band, die man wirklich jederzeit hinstellen konnte und IMMER ein mindestens passables Ergebnis bekam - selbst wenn sie unter maximalem Druck standen. "Shout" gesungen von Lennon ist genial! I'll Be Back Again war auf dem Album, jedoch nicht im Film zu hören. Hier sind zwei Versionen davon. Die erste endet in einer Comedyeinlage, die zweite ist schon nah an der endgültigen Fassung - wenn man von den Lachern in der Mitte mal absieht... You Know What To Do war eine Harrison-Komposition, die ganz ehrlich, nicht so toll war und auch nie auf einem Album landete. Also einer der verlorenen Songs, die zwar fertig in der Lade lagen, jedoch nie verwendet wurden. Beatles For Sale (Ende 1964) ~~~* Nach dem Film "A Hard Days Night - Yeah Yeah Yeah" und dem gleichnamigen Album war den Beatles keine Pause gegönnt. Sie sollten sofort das nächste Album aufnehmen. Zwischen "Hard Days Night" und "For Sale" lag kein halbes Jahr. Dazwischen kam noch eine ausgedehnte Tour in den USA (August-September) Leider lagen nicht sehr viele Eigenkompositionen vor und so wurde verstärkt auf Coverversionen schon bekannter Rock'n'Roll Songs oder fremde Kompositionen zurückgegriffen. In Probeversion hört man hier: No Reply (Lennon/McCartney) Mr. Moonlight (Lee Johnson) Leave My Kitten Alone (John, Turner, McDougal) No Reply, Alternativversion (Lennon McCartney) Eight Days A Week, in zwei Versionen (Lennon/McCartney) Kansas City/Hey-hey-hey-hey (Leiber/Stoller/Penniman) Bis auf "Leave My Kitten" erschienen dann auch alle Songs in einer fertigen Fassung auf dem

85 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 endgültigen Album, dass noch deutlich vom Beatfeeling geprägt war. Allerdings ist mit "Eight Days A Week" ein unsterblicher Klassiker dabei. Fazit ~~~* Die erste CD ist eine Entdeckungsreise zu den frühen Beatles. Nicht alles ist zwingend, manches vom künstlerischen Standpunkt aus sicher entbehrlich. Aber hier wird die Entwicklung von der kleinen Vorstadtbeatband zur größten Rockband der Welt minutiös verfolgt - und das ist schon hörenswert. Am Ende der ersten CD hört man bereits, mit wieviel Lieb die Beatles ihre Studioaufnahmen vorantrieben. Das setzt sich auf der zweiten CD fort. Nach einer Sammlung von feinen Liveauftritten bekommt man viele Alternativversionen bekannter Songs zu Gehör. Das sind nicht immer Volltreffer, aber wenn man das Ergebnis kennt, staunt man schon, was die vier aus den rohen Fassungen gemacht haben. Und eines spürt man ganz deutlich. Auch die Beatles waren nicht nur talentiert, sondern haben für ihren Erfolg knochenhart gearbeitet. Wenn man die Rock'n'Roll Covers der ersten Stunde mit der letzten Aufnahme vergleicht (Kansas City) vergleicht, hört man nicht nur eine bessere Aufnahmequalität, sondern ein massiv bessere Band. Der Sound ist teils miserabel, teils überraschend gut. Vor allem die Fernsehshows wurden offenbar sehr gut produziert und auch bei den Decca-Probeaufnahmen saßen Profis am Mischpult. Wunderbar ist mal wieder das umfangreiche Booklet, in dem vieles genau erklärt wird. Nur mit diesem Booklet ist "Anthology 1" wirklich interessant. Denn nur damit kann man den Spuren der Beatles folgen Musikalisch sind weite Teile der Doppel-CD entbehrlich und nur für den wahren Fan zu gebrauchen. Vor allem die erste CD wird man nach einmaligem Hören vermutlich nie wieder auflegen. Deshalb zwar drei Sterne, aber keine Kaufempfehlung. Wer dieses Album "zufällig" kauft, wird sich ziemlich erschrecken und ein völlig falsches Bild der Beatles bekommen. Anthology 1ist die schwächste der drei Anthology Alben. Beatles Einsteigern seien immer noch das Rote und Blaue Doppelalbum ans Herz gelegt.

Swissflyer 11 Februar 2006. 3 sterren. Pilzköpfe in Germany The Beatles First - The Beatles Pro: sehr rare Aufnahmen Kontra: zum Teil eher dürftige Tonqualität Empfehlenswert? nein Da habe ich die ersten wirklichen Aufnahmen "meiner" Pilzköpfe gefunden, und dann erst noch in einer Doppel-CD Sonderausführung *mega freu* Auch der Inhalt der CD hört sich auf den ersten blick sehr gut an, und da ja digital remasterd, sollte die Tonqualität auch nicht all zu schlecht sein. Inhalt der Doppel-CD: 1. Stereo:Ain't she sweet 2. Cry for a shadow 3. Let's dance 4. My Bonnie

86 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

5. If you love me, baby 6. What'd I say 7. 8. The saints 9. 10. Why 11. Nobody's child 12. 13. My Bonnie german intro) 14. My Bonnie (english intro) 15. Mono: Ain't she sweet 16. Cry for a shadow 17. Let's dance 18. My Bonnie 19. If you love me, baby 20. What'd I say 21. . Sweet Georgia Brown 22. The saints 23. Ruby baby 24. Why 25. Nobody's child 26. Ya ya 27. My Bonnie (german intro) 28. My Bonnie (english intro) 29. Let's twist again 30. Top ten twist Produktinfo: In den Jahren 1960 und 1961 lebten die Beatles für mehrere Monate in Hamburg, wo sie von lokalen Clubs (Top Ten / Star Club) als Musiker engagiert wurden. In dieser Zeit wurden sie von Bert Kaempfert für die Polydor unter Vertrag genommen und nahmen ihre ersten Songs auf. »The Beatles’ First« dokumentiert diese historischen Aufnahmesessions, die erstmals 1964 komplett auf einer LP vereint unter dem Titel »The Beatles’ First« veröffentlicht wurden. Neben den kompletten Stereo- und Monoversionen dieser CD finden sich zwei weitere Songversionen (My Bonnie / zwei Intro Varianten) sowie Bonus-Tracks von Tony Sheridan, die zur gleichen Zeit aufgenommen wurden und zum Standard-Repertoire der Top Ten und Star Club Bands gehörten. Kritik: In ihren frühen Tagen mischten die Beatles Hamburger Clubs auf, standen bei Bert Kaempfert unter Vertrag - und begleiteten Sänger Tony Sheridan. Die Twens legten eine quirlige Gangart in Rock- und Twist-Manier ein, so in "Ain´t She Sweet" oder "My Bonnie". Sheridan´s Stimme kommt ungemein raureif und präsent, was auch für den Sound gilt. Die Deluxe-Edition vereint Stereo- und Mono-Takes plus Raritäten wie "My Bonnie" in Deutsch. Fazit: Es hat ein paar wirklich gute Stücke mit auf der CD, die übrigens eine aufgemozte Versiond der oben abgebildeten CD ist. Auf jedenfall würde ich dieses Album kein zweites mal kaufen, denn die wenigen positiven Punkte rechtfertigen den Kaufpreis von 51.90 sFr in keinster Weise!

87 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Forum nr.9 blogs.myspace.com/index.cfm?fuseaction=blog.view&friendID=113995738&blogID=417522292 23 juli 2008. THE SMITHEREENS TO RELEASE "B-SIDES The Beatles" ON SEPTEMBER 2, 2008: NEW ALBUM IS THE HIGHLY ANTICIPATED FOLLOW UP TO 2007'S "MEET THE SMITHEREENS!" (New York, NY) KOCH Records is happy to announce the release of B-Sides The Beatles, The Smithereens' highly anticipated follow up to their critically acclaimed 2007 release, Meet The Smithereens. The album will be released on September 2, 2008. It's no secret that The Smithereens grew up listening to The Beatles. Their album Meet The Smithereens paid homage to the group's landmark Capitol debut album by lovingly re-recording Meet The Beatles in its entirety. This time The Smithereens dug through their treasure of early Beatles singles and selected a dozen of Beatles B-Sides. The last two years have been an incredibly prolific time for The Smithereens. B-Sides – The Beatles is, amazingly, after a ten-year absence from the , the SEVENTH full-length Smithereens CD released within the past two years. The band also released their first best-selling Beatles Tribute smash hit Meet The Smithereens!, The Smithereens Live In Concert, Christmas With The Smithereens, 7th Inning Stretch (the Soundtrack Recording from Smithereens' singer Pat DiNizio's ESPN-TV Baseball/Rock and Roll Special "7th Inning Stretch"), all on KOCH. In addition, frontman Pat Dinizio released two recent solo CDs, the pop standards collection This is Pat Dinizio and the rocking Pat Dinizio, both released in late 2007. When asked about "B-Sides The Beatles," Smithereens Co-Producer Kurt Reil said, "The project started while we were making demos in preparation for the next new original Smithereens album. As the band warmed up on obscure Beatles B-sides they used to play in clubs, we soon realized there was some unfinished Beatles business for The Smithereens, especially in light of the success of Meet The Smithereens, and the idea for a follow-up was born." The Smithereens have enlisted legendary illustrator Jack Davis, one of the most beloved and talented artists to be associated with Mad magazine, to create the cover of this album. His work for Mad dated back to its inception as an EC comic in the '50s. Davis' work has also been featured in TV Guide, Creem, Playboy, Time, Ebony, myriad book covers, movie posters, advertising campaigns, greeting cards, bubble-gum trading cards and on scores of record albums. Now The Smithereens join a distinguished fraternity of artists that includes the likes of Homer & Jethro, Spike Jones, Johnny Cash and The Cowsills, all of whom can boast long-players adorned by the art of Jack Davis. The album includes some very special surprises for dedicated Beatles fanatics. For B-Sides The Beatles, Andy White, who in 1962 played drums on The Beatles' original version of "P.S. I Love You" reprises his role as surrogate stickman for the Smithereens in 2008. The September 11, 1962 session that produced "Love Me Do" and its B-side "P.S. I Love You," featured session drummer White, with the newly recruited Ringo Starr relegated to tambourine and maracas duties. Upon release in America, the A-side shot to 1, and the B-side made the top-10 as well. B-Sides The Beatles also includes fantastic in-depth liner notes by Beatles author /historian Bruce Spizer, as well as "Beatle" Tommy Frangione (Joe Johnson's Beatle Brunch), and the Smithereens'

88 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 own Dennis Diken. At the time Beatlemania exploded, the dominant format was the 45 RPM single – an unbreakable vinyl disc that spun on a turntable at 45 revolutions per minute. One paid anywhere from 69 cents to a buck for these records, and although they were called singles, each disc contained two songs, one on each side. The Smithereens respectful treatment of these B-sides from 1964 and early 1965 re-enforces what we knew all along—The Beatles B-sides were better than most of the A-sides released by other artists. The Smithereens drive home this point by keeping the the same while remaining true to their bar band roots. You know you are listening to great Beatles songs, but at the same time, you know it's The Smithereens who are performing them. THE SMITHEREENS B-SIDES The Beatles: 1. 2. There's A Place 3. I'll Get You 4. You Can't Do That 5. 6. Cry For a Shadow 7. PS I Love You 8. Happy Just To Dance With You 9. 10. Slow Down 11. I Don't Want to Spoil The Party 12. Some Other Guy

Miraculous Elvis Toast 8 augustus 2008, 12:37. Some Other Guy and Cry For a Shadow? Dude, those are B-Yond the B-Sides. Excellent choices! I can't wait for it. Although when I heard rumors about this project I did get a bit giddy to hear The Smithereens version of You Know My Name. Some other time, perhaps.

Monolith 0f Hate 16 september 2008, 1:30. What a coincedence Jim, l'm so happy just to dance with you too.

Forums Flying

Forum nr.1 www.songfacts.com/detail.php?id=135

Flying by The Beatles Album: Magical Mystery Tour Released: 1967

Songfacts

89 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Mike Mountlake Terrace, Washington. All four Beatles are credited with writing this song. It was the first song written by a 4 members. This was the first instrumental song by The Beatles to be published by EMI. It was also the only Beatles instrumental they recorded for Records, their British label. The Beatles used this intheir movie Magical Mystery Tour. This is one of the few Beatles songs featuring the Mellotron, which was played by John Lennon. Others are "Strawberry Fields Forever" and "I am the Walrus." Morgan Fargo, ND. The original title was "Aerial Tour Instrumental."

Comments:

Eric Buffalo, NY. I really like this song. The video in Magical Mystery Tour is very cool too...fits the song perfectly. So many different colors and such. Why did the BBC air the movie in black and white!?!?

Marshall Grand rapids, MI. I agree the this instrumental is very trippy...and thats why its my favorite!

Marshall, Grand rapids, MI. SORRY FOR THE TYPO DOWN BELOW...

Marshall, Grand rapids, MI. Sorry for the two typos I made...(uhhh im such a klutz)

Peter Griffin Quahog, RI. Krista, it's called an instrumental, for a reason.

Nicole Lake Forest, CA. this is a really catchy instrumental song. It sounds weird, but i've got it caught in my head a lot. Trippy and pretty.

Tyler Lakewood, CA. Correction Alan from Baltimore. Dig It and Maggie Mae were also credited to John, Paul, George, and Ringo.

Dave Bronx, NY.

90 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

A psychedlic blues instrumental very original concept.

Joe Montvale, NJ. This song has acoustic guitar recorded through a Leslie speaker and a backward coda. The tape loops were done by Lennon and Ringo and the song is credited to all The Beatles.

Sal Bardonia, NY. It sounds like the Booker T and the MG'S doing pyschedelic music. It a trippy space rock song with a great backward mellotron ending that sounds like Radiohead copied directly from one there songs.

Jonathan Johnstown, PA. wierd song, good album.

Dirk Nashville, TN. Here's an observation about how unusual this recording is.... It actually consists of two parts--the melodic musical part (the "real" part), and then the sort of dreamy fade-out. Here's the part you've probably never noticed: Next time you're listening to it on CD with a CD player that displays the time, notice exactly when the "real" part of the song ends and the dreamy fade-out begins. They are almost the same length, almost second for second. In other words, that trippy floaty ending is as important a piece of the recording as the "real" part of the song.

Jordan Wimette, IL. I was listening to jimi hendrex while listening to 'flying' and I think I heard

Jordan Wimette, IL. IT'S NOT JUST AN INSTRUMENTAL!!!!! (The lyrics are AHHHHH, AHHHHH

Jordan Wimette, IL. IT'S NOT JUST AN INSTRUMENTAL!!!!! (The lyrics are AHHHHH, AHHHHH)

Nick Solvang, CA. This songs cool, but it's strange too...

Carissa La Mirada, CA. Paula what are you smoking? It is very trippy tho. I like it

Paula-Mersey TÃ?mperley, Argentina.

91 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

This song sounds really incredible!It reminds me to an imaginary fly were we can see a moulticoloured sky,with clouds made of stars.Very psicodelic,isn´t it?'

Stefanie magura Rock Hill, SC. are you kidding Mike? The Beatles did a lot of trippy songs. tis one is pretty trippy though.

Alan New Baltimore, MI. I think the only other song credited to all four Beatles was "Free As A Bird".

Mike London, England. This is one trippy song, full od mystery and strangeness. I always imagine the end to be a bird's wings flapping with church bells in the background.

Tyson Ruidoso, NM. Not bad for an instrumental.

Forum nr.2 artists.letssingit.com/the-beatles/flying/qxwzqfc/reviews/

The Beatles - Flying Reviews

Song details Title Flying Artist The Beatles Album Magical Mystery Tour (1967), track 3 Song score Rhythm : 6.7 Melody : 6.7 Instruments : 10.0 Lyrics : 4.0 Vocal : 4.0 This song has been reviewed 3 times. Overall score for this song, 6.3.

The Dom 30 juli 2005, 18:32. this song has som great vocals this song is an instrumental.... it's good though! peaceful and catchy (I gave vocals and lyrics a 1 because there are none) Rating: rhythm 5 sterren melody 5 sterren instruments 5 sterren

92 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 lyrics 1 ster vocal 1 ster

Kinsdragon1 30 juli 2005, 20:02. i was referring to the humming "la la la la la laaaaa "la la laaaa la la la laaaaa" its so....perfectly in tune

Crazy cass 27 mei 2006, 04:21. what an awesome instrumental! It really adds to the already awesome album.

Silverbutterfly 27 oktober 2008, 04:37. This makes for a good trivia question. What is the only song The Beatles released that didn't have lyrics to it. A beautiful piece of music. Rhythm 0 sterren melody 0 sterren instruments 0 sterren lyrics 0 sterren vocal 0 sterren

Forum nr.3 en.wikipedia.org

Anoniem “Flying” Song by The Beatles Album Magical Mystery Tour Released November 27, 1967 (US) (LP) December 8, 1967 (UK) (EP) November 19, 1976 (UK) (LP) Recorded September 8, 1967 Genre Psychedelic rock Length 2:17 Label Parlophone, Capitol, EMI Writer Lennon/McCartney/Harrison/Starkey Producer George Martin Magical Mystery Tour track listing “ “Flying” “” (2) (3) (4)

"Flying" is an instrumental song by The Beatles which first appeared on the 1967 Magical Mystery Tour release (two EP discs in the United Kingdom, an LP in the ).

93 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Origins A rare Beatles instrumental (the first since "Cry for a Shadow" in 1961), although wordless chanting is heard at the end, it was the first song to be credited as being written by all four members of the band,[1] with the writing credits of "Lennon/McCartney/Harrison/Starkey" (another being "Dig It" off the Let It Be album). It was recorded on September 8, 1967 with mellotron, guitar, bass, maracas, drums, and tape loops overdubbed September 28. "Flying" was originally titled "Aerial Tour Instrumental". The end of the recording originally included a fast-paced traditional New Orleans jazz-influenced coda, but this was removed and replaced with an ending featuring tape loops created by John Lennon and Ringo Starr during the September 28 session. The loops initially made the song last 9 minutes 38 seconds, but the track was cut after only 2 minutes 17 seconds. Part of the loops were used alongside an element of the ending jazz sequence to make "The Bus," an incidental piece used at various points, for the TV movie. The track is likely to have originally started simply as a jam session — it is in simple 12-bar blues form in a straight-forward 4/4 time and the key of C major.

Recording On the track as recorded and officially released, John Lennon plays the main theme on mellotron, accompanied by Paul McCartney and George Harrison (both on guitars, plus a later bass overdub) and Ringo Starr (on maracas and drums). All four Beatles added the chanting, and the track fades in an assortment of tape effects created by Lennon and Starr. This released version is identical to that heard on the soundtrack of the Magical Mystery Tour film; the music is accompanied in the film by colour-altered images of landscape in Iceland taken from an aeroplane. Those shots are outtakes of the Stanley Kubrick's movie 2001: A Space Odyssey.[2] A different version can be found on some Beatles bootleg albums (such as Back-track 1), and features added Hammond organ and strange whistling noises in the early parts of the track. The jazz-influenced ending is also present on this version, which is slightly shorter, clocking in at around 2:08.

Influence on music by other artists In 1977, The Residents covered "Flying" on the Residents Play the Beatles side of their The Beatles Play the Residents and the Residents Play the Beatles single release. Reportedly, the only reason they chose "Flying" was because it was the only song they could find that was credited to all of The Beatles as composers. The single is now fairly difficult to obtain, although the track can be found on the discontinued CD release of The Third Reich and Roll as a bonus track, as well as the rereleased radio interview Eat Exuding Oinks. It has been said that Noel Gallagher of Oasis used the song "Flying"'s chords to create the song Shakermaker on the album Definitely Maybe.

External links • Alan W. Pollack's notes on "Flying". Retrieved on November 7, 2006. References 1. ^ Miles, Barry; Keith Badman (2001). The Beatles Diary: The Beatles Years. Omnibus Press. p.286. ISBN 0711983089. http://books.google.com/books?id=_TBkf1ttNBYC&pg=PA286&dq=Flying+Beatles. 2. ^ BBC - h2g2 - 2001: A Space Odyssey

94 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Forum nr.4 www.songmeanings.net/songs/view/3530822107858643759/

Flying lyrics -instrumental-

AsherC 12 maart 2007. Rated 0 awesome cheesy song. I love it.

The callie fox 02 april 2007 Rated 0 The Beatles 'wrote' this song for their movie Magical Mystery Tour which aired on british TV. great song, i love it

Doublexfantasy 07 juni 2007. Rated 0 Just let your mind go on this song. Your imagination goes wild.

NavinR 21 juni 2008. Rated 0 This song does in fact have lyrics. The lyrics are la la la la la la la la la la la la la la la la la la la la la la la

Deck3000 04 augustus 2008. Rated 0 lennon wrote this after he had a dream in which he was flying

Forum nr.5 magazine.jamsbio.com/2008/11/17/playing-the-beatles-backwards-songs-154-to-150/

Jbev 17 november 2008. Playing The Beatles Backwards: Songs 154 to 150 To most Beatles fans, choosing between the songs of the Fab 4 is a bit like choosing between

95 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 children. But, on the JamsBio exclusive, Playing The Beatles Backward, one intrepid fan dares to rank the original songs of The Beatles and give his reasons why in a worst-to-first countdown. Check back each day for the next five songs on the list, prepare to hit the message boards to defend your favorites, and follow the countdown all the way to Number 1. The Last Five: 159. “Everybody’s Got Something To Hide Except Me And My Monkey” 158. “One After 909” 157. “I Want To Tell You” 156. “Don’t Bother Me” 155. “Sun King”

154. “What Goes On” Congratulations, Richard Starkey, on your first songwriting credit with the Fab 4. Although Ringo later claimed that his contributions to this song were minimal (a refreshingly modest contrast to the battles for songwriting credit later waged by Lennon and McCartney), the country and western swing on this Rubber Soul track certainly sounds like something Ringo might write. I also feel like the line in the song “feel my future fold” has a distictly Ringo-esque flair, the kind of thing that he would write just to make a rhyme but ends up having a sort of cosmic wisdom about it. John claimed to have written the bulk of it, although I’m not sure his recollection can be trusted, considering he gave Paul credit for the middle eight even though the song doesn’t really have one. I guess it doesn’t really matter too much since “What Goes On” is relatively lightweight. Some characteristics to recommend it: The nice harmonies, as John and Paul sweetly blend in with Ringo’s lead vocal; George’s Carl Perkins-flavored guitar solo; and John’s crazed squonking on rhythm guitar. Seriously, focus your ear on those little stabs John makes with his instrument on this one. It sounds like he’s playing a different song at times, but somehow it works. On the negative, the lyrics veer toward the melodramatic (“Did you mean to break my heart and watch me die?”) And it was a bit of a disconcerting trend that Lennon and McCartney tended to leave their table scraps for Ringo to sing, making him akin to the kid in the Life cereal ads. I can hear the studio conversation now: “Give it to Ringo. He’ll sing anything.”

153. “Flying” I’ll be honest with you right up front and tell you that I’m not an instrumental kind of a guy. To me, you can lump Joe Satriani in with Kenny G. All instrumentals tend to send my finger hurtling toward the “Scan” button on the car radio with world-record type speed. They just bore me. Now that I’ve unburdened myself, I also have to say that I don’t mind “Flying.” Maybe it’s because it’s very subtly done, not an excuse for everybody involved to show off their “chops” or whatever it is musicians like to blather on about. (I know I’m making a lot of friends here.) The little flourishes here and there nicely complement the melody of the mellotron. It also seems like soundtrack music, which is, of course, what it became (for the Magical Mystery Tour film. And those chanting, wordless vocals that come in at the end to second the melody keep the proceedings from getting too heavy. The crazed tape loops at the conclusion would anticpate future, more unfortunate experiments like “Revolution 9,” but “Flying” can’t be held accountable for that. It’s an instrumental, and it doesn’t make me want to fill my ears with tile grout, so it can’t be too bad.

152. “There’s A Place” Bouyed along by great harmonies and a nice sense of drama, “There’s A Place” really jumps out at you the first time you hear it. I’m not sure how well it holds up after that though, simply because

96 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 there’s not a lot to the song. Lennon wrote it, and he was apparently trying to do an homage to Motown. The Beatles were able to mimic Motown often and well during this time period, but I’m not sure this song qualifies once you get by the little a cappella part at the start. After that, it’s strictly Mersey beat. The lyrics are trying to hint at something a little deeper than the simple variations on “I love you” they had been writing. But Lennon bails out too soon from his efforts to depict a safe haven in his head to be with his love, settling instead for easy rhymes that don’t necessarily work in context (“And it’s my mind/And there’s no time.”) Throw in the all-too ubiquitous harmonica from the Please Please Me sessions, and you have a near-miss. The group would quickly learn how to fill such a great hook with worthier lyrics.

151. “Her Majesty” Beatles enthusiasts the world over know well the story of how this 23-second ditty ended up as one of the first hidden tracks in rock history (initial pressings of Abbey Road didn’t include it in the track listings.) Paul McCartney was trying to wedge the little tongue-in-cheek ode to the Queen into the first medley on Side 2 of the album, but decided it wasn’t any good and instructed an engineer to destory the tape. The engineer, either because he was under orders never to destroy anything The Beatles recorded or because he possessed amazing historical foresight, stuck the tape at the end of a rough cut of the album, where it stayed until it was re-played for Paul, who decided he liked it at the end. (This is also why there is an opening guitar blast in the song; that was originally intended for the end of “Mean Mr. Mustard.” And it’s why there is no closing chord in the song; it got left at the start of “” and edited out.) That’s a lot of info for a sliver of a song, sung affectingly by Paul with a twinkle in his eye. I felt the need to explain it again, because, if you’re like me, you’ve always been bothered by the song’s placement after what should have been the group’s Grand Finale. To me, it undercuts the symmetry of the closing medley, the great last line about making and taking love, that lovely, last horn blast. That’s the way it should have gone down. Instead, you’ve got a Paul solo performance as the group’s last word, and a hugely anticlimactic last word at that. I know that Paul has spoken since about it being a happy accident and that the group felt that “Her Majesty” helped take some of the air out of the somber proceedings in that final medley. Well, when a group as wonderful as The Beatles signs off for good, things should be somber. Things should be majestic, and poignant, and moving, and all the other highfalutin’ words that mean you get chills hearing it. “Her Majesty’ doesn’t give you any of that, and so it has no right being the closer. Of course, Let It Be ended up being released after Abbey Road anyway, so what’s my point really? The point is that if I want to listen to “Her Majesty,” I cue it up and play it solo. When I listen to Abbey Road, I hit stop as soon as “The End” ends, drawing the final curtain down properly.

150. “Do You Want To Know A Secret” John Lennon was inspired by a song from the Snow White movie to write “Do You Want To Know A Secret.” (Also inspired by the movie but left on the cutting-room floor were songs like “Take This Apple And Shove It” and “Dopey’s Theme,” which was an instrumental, of course.) Lennon then gave the hand-off to George Harrison to take lead vocals, since George wasn’t yet writing his own material at the time of Please Please Me. George actually sounds a little bit like John with a slight head cold here, and it’s interesting to hear him singing such unabashedly romantic lyrics, since those songs would be atypical of his own songwriting output. I actually think he plays the part well here. Although the song isn’t exactly a deep treatise on love, it’s got some nice elements to its

97 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 construction. The little spoken-word “You’ll never know…” intro sets the song up well in a retro, 50’s way. Paul’s bass-playing really drives the song, as it’s more in the forefront than usual here. And I like the fade-out, which never really resolves. Nice touch. One side note: I was introduced to this song by that only-could-have-happened-in-the-80’s Beatles medley by Stars On 45. I heard that again not too long ago and was struck by how bizarre it was and how that crazed concoction became a hit. I guess with The Beatles, anything is a possible hit, even disco medleys that sound like they were edited by a paper shredder.

Comments JamsBio Magazine [...] Countdown Songs 159 to 155 | JamsBio Magazine said: [...] 164. “You Like Me Too Much” [...] Playing The Beatles Backwards: Countdown Songs 154 to 150 | JamsBio Magazine said: [...] 159. “Everybody’s Got Something To Hide Except Me And My Monkey” [...]

JamsBio Magazine [...] 154. “What Goes On” [...]

Shredder Come on dude. You don’t like instrumentals? Which basically means you don’t like classical music, most jazz, electronica, dub etc. etc. It basically means you don’t like the “music” part of music. You like people to sing you a song with lyrics that meet your approval. No offense, but how are you a music critic? Can you play any instruments? Much of what makes any music great are the instrumental “chops” of the virtuosos we pay to play for us. If you don’t like musicians to be proficient on their instruments, why don’t you just sit around a campfire with your friends and sing Kumbaya? I suppose you don’t like guitar solos, or epic jamming, jazz improvisation or any of the other instrument oriented aspects of music. Probably not a big fan of John Coltrane or Jimi Hendrix… perhaps you find Mahavishnu Orchestra too self indulgent? You are a dweeb. Who cares what you think about The Beatles.

Jbev To Shredder, Wow, you’ve really extrapolated quite a lot from one line in my write-up there. You’ve got me hating every genre of music short of polka. I probably should have said I’m not a rock instrumental kind of guy. It just feels like many of them are, you used the term, self-indulgent. Just because something is technically hard to play doesn’t mean it is pleasing to listen to. And no offense taken, because I don’t consider myself a music critic. I’m a fan who has an opinion that someone deems worthy of being published online. I never got a degree from Lester Bangs Academy, but I still feel that my opinions are valid ones, whether you agree or not. I also don’t play an instrument, but I sppreciate the talent of those who play their instruments well in service of a song. If you check out some of my other write-ups, you’ll see several instances of songs that I rated higher because of their music even though I thought the lyrics weren’t up to snuff. The review says that I actually kind of like “Flying”, so it’s not like I’ve taken an anti-instrumental pact. And just for your info, my friends and I prefer “Puff The Magic Dragon” at our campfires. Thanks for the comment, Jbev

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Barb your link for “there’s a place” plays “i want to tell you”

Barb and, i just noticed, “do you want to know a secret” plays “sun king”

Jbev To Barb, You’re right about these two links. I’ll let the site know. Jbev

Forum nr.6 cdbaby.com/cd/capecodcovers2

Various Artists Cape Cod Covers, Vol. 2 "The Beatles" 2007 Sedgewick Records (893746001017) The best bands on Cape Cod and the Islands pay tribute to The Beatles. This follow up to the hugely successful Vol. 1 "The King" features Carly Simon, Kate Taylor, Entrain and many more. Proceeds go to benefit Angel Flight NE. Tracks: 1 Blackbird 2 All You Need Is Love 3 No Reply 4 5 She's Leaving Home 6 What Goes On 7 I Am The Walrus 8 Drive My Car 9 Helter Skelter 10 She Said, She Said 11 I'm Only Sleeping 12 Because 13 Flying 14 15 The Long And Winding Road 16 Rain 17 18 Boys 19 Don't Pass Me By 20 Don't Let Me Down 21 With A Little Help From My Friends

Notes Following last year's hugely successful, Cape Cod Covers, Vol. 1 "The King", the best musicians on Cape Cod have again to lend their talents and pay tribute to "The Beatles".

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Cape Cod Covers, Vol. 2 "The Beatles" features Carly Simon, Entrain, Kate Taylor, Travis & Shook and many others performing versions of Beatles songs that are sure to become classics all over again. Produced by David Wood, the album proceeds go to benefit Angel Flight N.E. What is Angel Flight NE? Angel Flight NE is a volunteer corps of over 1200 private pilots and "Earth Angels" who combine their love of flying with the spirit of grassroots volunteerism by flying patients and their families to the critical health care they need. They provide air transportation in private aircraft by volunteer pilots so that children and adults may access life saving medical care free of charge. Angel Flight New England (a.k.a. Angel Flight NE) is a 501 (c) (3) non-profit, tax-exempt organization that provides free air transportation to patients whose financial resources would not otherwise enable them to receive treatment or diagnosis, or who may live in rural areas without access to commercial airlines. They are also a vital mode of transportation for organs, blood and for patients awaiting organ transplants. AFNE also makes compassion flights and provide air care wherever there is a compelling human need. While AFNE patients primarily live in the northeast United States, they currently provide flights for people as far north as Maine, as far west as Minnesota and as far south as Florida and Louisiana. Approximately 50% of AFNE patients are children, generally suffering from severe burns or cancer. more information at Angel Flight NE website www.angelflightne.org

Reviews

Joe Burns Beatles bring out the best in Cape and Islands musicians As it was in the beginning, so it is today: first there was Elvis and then came The Beatles. This time the Fab Four follow The King as subjects for the second in the CD series “Cape Cod Covers.” As in the case with its predecessor, a portion of the CD sales will benefit Angel Fund New England, an organization of volunteer pilots who provide free transportation to patients in need of life-saving medical care, as well as to their families. The CD starts off on a high note with Carly Simon (with vocal backing by her son Ben Taylor) and her rendition of “Blackbird.” Simon sets the bar high, but none who follow falter. Maybe it’s better material. Maybe it’s because The Beatles have more relevance to today’s musicians than Elvis does. But this second edition of “Cape Cod Covers” is far superior to the first. Unlike last year’s Elvis cover album, which found most contributors taking liberties with the arrangements, none stray far from the originals this time around. In fact, one of the most enjoyable aspects of this album is, considering the sophisticated production in much of The Beatles’ later work, how uncannily close most of the performers come to recreating The Beatles’ sound. “All You Need is Love” by Entrain, “Across the Universe” by Feldspar and “I am the Walrus” by The Mike Dumas Band are just three among many that hit the mark. While some of the artists on the album are old enough to have experienced Beatlemania, others are singing songs that were hits if not before their mother was born, at least before they were born (as one proud Ticks parent, listening to their angelic harmonies on “Because” said: “The Beatles are in their DNA.”) J. Cournoyer provides the perfect segue, following that selection with the often overlooked instrumental “Flying.” Not all stick as closely to the originals. Kate Taylor (another in the Taylor clan contributing to the CD) uses pulsating percussion and harmonica to take “Drive My Car” down a different path.

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Bluesman Maynard Silva slides his guitar and gravelly voice around “Get Back” easing on the urgency of the original with a loping “Truckin’” tempo. Heeby Westwood clears away the clutter of “Helter Skelter” without losing any of the frenetic feeling. And Travis & Shook offer a subdued “No Reply” that recalls Peter and Gordon. (Or is it Chad and Jeremy? I can never get that straight.) The Rip-It-Ups sound like they’re reaching back to The Beatles’ skiffle roots with their version of “Don’t Pass Me By,” one of several Ringo Starr numbers on the album. Another, the countrified “What Goes On” by Link Montana and the Rough Riders, suits their style to a tee. All they had to do was . And I can’t believe anybody had more fun recording than The Greenheads did nailing “Boys.” For baby boomers now listening to The Beatles from the other side of the generation gap the recording doesn’t just bring back memories. Songs such as “She’s Leaving Home” (another dead- on cover. This time by Brian Kerins, with instrumental and vocal backing by Eric Bostrom) likely evoke a different feeling than they did the first time around. Lest we forget, Earth Junior (“She Said, She Said”), Sarah Swain (I’m Only Sleeping”), Dan Lyons (“The Long and Winding Road”), Earthbound Misfits (“Rain”), The Grab Brothers Band (“Paperback Writer”) and Sara Leketa Alruda (“Don’t Let Me Down) are all right up there with the rest in what is one entertaining piece of plastic. The album concludes with a we-are-the-world version of “With a Little Help From My Friends” that includes many of the performers on the CD.

Kevin aka Mr. Moonlight for BeatlesRadio.com. The best kept Beatles secret for the summer of 2007 With all the tributes, remakes, mixes and mash-ups out there this year, Cape Cod Covers Vol.2 is a refreshing breath of New England music talent... and although 2007 is only half over, this is the best collection of Beatle covers to date and should be a Christmas stocking stuffer for those early shoppers with Fab Four devotees in the family. I found it by accident but you don't have to wait until it falls in your lap.

Bill O'Neill for Cape Cod Times. Homegrown Beatles tribute best of new cover CDs "Cape Cod Covers" does everything you could want a tribute CD to do. It allows you to revisit some favorite songs, tempting you to dig out your old Beatles albums (but listen to it all the way through first). It gives you something new, in that it gathers 20 performers from the Cape and Islands — and you'd have to be a very energetic bar-hopper to be familiar with all of them. And it supports a cause that deserves broad support: helping our neighbors who are struggling with health issues. Executive producer David Wood pulled off a coup in getting Carly Simon to donate her ever-so- pretty rendition of "Blackbird," but he also deserves credit for rounding up a talented cast of local veterans and newcomers. Travis & Shook send up an appropriately tear-jerking version of "No Reply," and Brian Kerins does the same on "She's Leaving Home." Link Montana & the Rough Riders stir up some roots- rock magic on "What Goes On." Feldspar connects Lennon's solo and group work by blending a bit of "" into "Across the Universe." In one great three-song run, Sarah Swain puts a little twang into "I'm Only Sleeping," the Ticks harmonize magnificently on "Because," and J. Cournoyer puts a mellow surf spin on "Flying," which is about the closest thing to an obscure Beatles song (it's an instrumental on the "Magical

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Mystery Tour" album). Then comes Maynard Silva's country-blues version of "Get Back," so I guess it's a four-song run. But the next song is Dan Lyons' moving take on "The Long and Winding Road." I thought it would be a long time before I heard a CD that would replace last year's "Cape Cod Covers," a tribute to Elvis Presley, as my favorite local compilation, but it looks as if this one did it. A rowdy "We Are the World"-style group effort on "With a Little Help From My Friends" closes the CD, which belongs in the collection of any music fan who calls Cape Cod home.

Forum nr.7 www.sputnikmusic.com/album.php?albumid=2212

Med57 14 april 2005. The Beatles Magical Mystery Tour Magical Mystery Tour is something of an oddity in the back catalogue of The Beatles, being a contender for their most underrated album. Now, I know what a lot of you are thinking when you read that sentence. “How on earth can anything made by The Beatles ever be considered underrated? They’re the biggest selling band in history!" Normally, I’d consider agreeing with you. However, this album truly is underrated, and the reason for this is simple; the time in which it was released. Coming after the release of Sergeant Pepper’s Lonely Hearts Club Band and Revolver, but just before the release of The White Album, this album often gets lost in the history of The Beatles, meaning that it’s forgotten how extraordinary it is. Like The White Album, this is an album that sounds as if it simply has too many ideas on to all be by the same band, and in a way, that makes sense, because this album is effectively half film soundtrack, and half compilation some of the band’s biggest singles in the preceding year. The album itself is a typically diverse collection of songs, including psychedelica that would not have sounded out of place on the sprawling concept album that was Sergeant Pepper’s Lonely Hearts Club Band, as well as some great pop songs, such as Penny Lane. Something that is also worth remembering when listening to this album is the concept in which it was released. 1967 was the year of the famous “summer of love", meaning that songs like All You Need Is Love become revealed as genuine anthems of not only the time in which they were released, but of a whole musical era. Starting to see why this album can fairly be described as underrated yet? Opening track Magical Mystery Tour immediately gives the album a very fun filled mood, with brass instruments providing a constant backing, along with rushes of noise that were meant to represent the full extent of the fun of the tour. The lyrics reflect this, with McCartney’s continued refrain of “Roll up for the mystery tour". Although it would be typical to cast this as just another drugged up psychedelic song, it goes beyond that, and provides a solid opener for the album, as it doubtless did for the doomed TV show of the same name. The Fool On The Hill is another McCartney composition that would later be referenced on The White Album, and is based around a very mellow piano part, featuring gorgeous, bittersweet recorder parts which lurk just under the other instruments on the song. The lyrical content seems to be a strike at the people against the prevalent hippy culture of the time, saying that the fool on the hill is wiser than people think, which reflects the then personal beliefs of the band. While the first two songs provide backing for people who say that this is the most underrated of Beatles albums, Flying undermines this somewhat, being one of the few lyricless songs they recorded. This song is being based around Lennon’s synthesised organ and mellotron parts, which create a much spaced out atmosphere, but which ultimately don’t leave a huge amount of substance to the song itself. Of course, it wouldn’t be a Beatles album

102 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 without a Harrison composition on the album, and Blue Jay Way is the example this time, with it being far darker than most of the music contained here, thanks to a fuzzy sounding verse, where the vocals sound completely drained, while Starr’s drumming is surprisingly high in the mix, and the heavily repeated phrase of “don’t be long", which gives the song a narcoleptic air rather than any other sort of feel. Listening to it now you can still smell what The Beatles were probably smoking as they recorded this song, and that stands out on this slightly paranoid oddity on the album, even though it’s definitely a very fine song. is possibly the second weakest song here, with a strangely stately air that sounds as if the music was designed for an upbeat ballroom dance, although it does possess some of the little touches that made The Beatles stand out, such as a surprisingly catchy keyboard part, along with vocal layering that reflects how well the Lennon and McCartney duo complemented each other. While repetition of one phrase can work well though, here it merely grates slightly on the listener, giving the song a slightly stillborn air. However, one thing you could never accuse I Am The Walrus of is being stillborn. Regularly cited as one of the lyrically strangest songs ever recorded, talking about “sitting on a cornflake", singing penguins, and indeed the refrain of the title, it’s musically complex, with all sorts of indescribable effects going on under Lennon’s delirious vocals, as well as a break in the middle of the song where a string section effectively takes control of the music. If you wanted to listen to a psychedelic Beatles song, this is probably the one that would get recommended more often than any other, and with good reason. Although it’s complete nonsense, it’s also undeniably fantastic to listen to. At this point the original soundtrack for the Magical Mystery Tour TV programme ends, with the subsequent five songs all being previously released singles. Naturally, this means the mood of the album changes completely, but it also gives the album something of an air of a greatest hits compilation. Hello Goodbye is the first song that fits into this category, encapsulating everything that made The Beatles such a great pop band. A hugely melodic piano line, along with Starr’s airy, syncopated drumming provides the backing for McCartney’s lyrics, which are sung in what could be described as a near-infuriatingly happy voice. However, in my opinion it’s the coda to the song that makes it, where, after the end of the music, the band comes back in with a breezy outro, while McCartney sings nonsense sounds, punctuated with the occasional whoop over the top. Strawberry Fields Forever is a contender for half of the greatest double A-side single in history (along with Penny Lane). It’s also structurally incredible, with two versions being recorded, before George Martin’s production wizardry in speeding one up and slowing the other down, therefore making one version, led to the hugely changing textures of the music, greatly assisted by what was becoming a trademark brass section and mellotron. The music is very hard to describe, although it contains many sections, very ambiguous lyrics, and a final moment where John Lennon allegedly says “I buried Paul" (actually “cranberry sauce"), fuelling The Beatles rumour mill about the status of Paul McCartney’s life. Penny Lane and Baby You’re A Rich Man are far less complex listens, although both are great pop songs, with Penny Lane being a jaunty run through Liverpool, in what reads like a descriptive tribute to the city. Again, the instruments sound excellent, in particular the trumpet interlude during the song, and this is another definitive example of The Beatles’s mastery of pop music. Baby You’re A Rich Man is comparatively conventional compared to the previous pop masterpieces, although its strangely shuffling drum rhythm, and the relatively intoned vocals during the chorus gives it a slightly jazzy feel, which again shows that although Magical Mystery Tour is thought of as a “psychedelic" album, there is far more to it than that inadequate description allows. The final track on the album, All You Need Is Love simultaneously combines being undeniably corny, with the lyrics ranking among Lennon’s most optimistically hopeful, with also being strangely beautiful. The irony of the track, with the intro coming from the national anthem of France, and the horn parts

103 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 that add a whole new air to the song makes this among The Beatles’s very best songs, and the universal nature of its message at least partially explains why its fame has endured, even by the standards of The Beatles, to this day. The final moments of the song, where the music breaks down before a reprise of the band’s classic She Loves You comes in shows the true wonder of this band- in four years they had changed music so many times that those few lines sound as different compared to albums such as Revolver as something by Vera Lynn would do to us. Although underrated is obviously a relative concept when it comes to The Beatles, this album can indeed be fairly described as such. Although the first half is more experimental, it contains moments that live up to the bands very best work, and would be pushing for inclusion on a single disc greatest hits album, and the second half, to all intents and purposes, would have a decent chance of being included in its entirety of that album. The occasional weak track on here prevents this getting an entirely perfect score, but if you are looking to get into the most important band of all time, or are trying to expand your collection, it’s inevitable that eventually this will appear on your list of albums that you need to hear. If for no other reason than for the fact that this CD contains their greatest psychedelic experiment along with the ultimate double sided single, this should appear near the top of that list.

Comments

Iai 14 april 2005. I actually don't like this album. But then, I don't like Sgt. Peppers either.

SpectrumGuitarist 14 april 2005. I do like this album, and have listened to it many, many times in my life

Insearchofsomething11 15 april 2005. I love this album

Woodstock 15 april 2005. Great review Med. This is a very overlooked album.

Morrissey 16 april 2005. Album Rating: 3 Great review. I don't really like this album. It has some brilliant material like Strawberry Fields and Penny Lane, but the first half is just weak (with the exception of Fool on the Hill). If it was a consistent album with all songs at the caliber of the second side, it would be great. But it isn't. 3/5 for me.

Schyma 19 april 2005. Album Rating: 4 This is easily my favorite Beatles album. Another great reveiw Med.

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Also: Congrats on the new poistion.

Fuzed 10 augustus 2005. A very comprehensive review! Definately my fave Beatles album, which is only let down by the exceedingly cheesey Your Mother Should Know.

Chilly-Bean-Bop 30 augustus 2005. great review. i love penny lane

Knoxvillelives 24 september 2005. Album Rating: 4.5 Apart from the oddities Flying and Blue Jay Way, this is a damn near perfect album...love it, all day every day

AvalancheofSOUND 24 september 2005. ^^^ dude how can you say that about those songs. those two are in fact some of my favorites on the album especially blue jay way, love that song

Zebra 25 september 2005. Album Rating: 4 This is the one Beatles album that I can listen to whenever I want to. There just isn't a bad track. Magnificent review.

Thebeatles25 7 november 2005 Album Rating: 4.5 It's an excellent album. There are three fairly weak tracks though... - Blue Jay Way - Flying - Hello Goodbye 'Magical Mystery Tour' is a very good opener. Packed with excitement and introduction. Minus those three, the album is perfect. Psychedelia at its best.

SafetyInSolitude 19 november 2005. ^^^ I think Hello Goodbye is always a good song to listen to. Blue Jay Way and Flying are different stories though...

Zebra

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19 november 2005. Album Rating: 4 I've been on a huge Beatles kick lately and I actually think this might be my favorite Beatles album. While there are only eleven tracks there are a ton of standouts and there are no bad tracks, of course this is just my opinion.

AtTheDriveIn198d 21 november 2005. bigger than jesus

Storm In A Teacup 21 november 2005. Album Rating: 4.5 I love the movie of it, in fact I love all The Beatles movies. I've got all of them.

FeralCats 4 februari 2006. This is my favorite beatles album. I don't really like the others I have (Sgt.Pepper and Revolver). They're inconsistent to me. But this album made me think they're geniuses. I Am The Walrus is my favorite song of theirs.

Killtacular 4 februari 2006. Album Rating: 4 I almost bought this yesterday. But 12 dollars will always win over 15.

Nobodyblossomsforever 11 februari 2006. Album Rating: 3.5 For some reason I liked the psychadelic elements they threw into the songs.

Storm In A Teacup 12 maart 2006. Album Rating: 4.5 Another superb working by the Fab Four.

Rory says yes 23 maart 2006. Its good but I dont like it as much as other beatles albums because it isn't really rock at all and the wierd effects and orchestra stuff can get a bit annoying

Tom79 25 maart 2006. Album Rating: 4.5 I agree this album is under rated as far as Beatles albums go. Hello, Goodbye is one of the first Beatles songs I heard.

Zebra

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25 maart 2006. Album Rating: 4 I Am the Walrus is probably my favorite Beatles song. Either that or You Never Give me Your Money. I love the overall silliness of this album and that's why I like it so much.

CharmlessMan 25 maart 2006. 4 words... I am the Walrus Classic

El_Goodo 1 april 2006. I love your mother should know. And the story I've heard about Fool On The Hill is that George and Paul were out walking somewhere, and there was a man on a hill, they turned away for a second, looked back and he was gone. Paul decided to write a song about it. Bron-Yr-Aur 9 april 2006. Album Rating: 3.5 Loved the album before. 4/5. Heard it on Acid.Now it's 20/5. "Strawberry Fields Forever is my all time favorite Beatle song, and that's a hard decision to make. Abbey Road is pretty bad *** too.

Rigby 28 april 2006. Album Rating: 5 i like the album and love blue jay way very creepy and mtstical like a fog or haze is covering it. i think the songs start at good for The Beatles (great for anyone elsa) like mither should no and penny =lane and escalate up to songs like straberryfields, i am the walrus and all you need is love. tis is one of my favorite beatles albums

Mathias HIMSELF 30 mei 2006. Album Rating: 5 Singing in an English garden, waiting for the sun

Mathias HIMSELF 30 mei 2006. Album Rating: 5 sitting* excuse me

DownPaymentBlues78 30 mei 2006. You can just edit.

Blackbird 4 juni 2006. Album Rating: 5

107 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

This album is amazing. I think the song Magical Mystery Tour is probably The Beatles most underrated song. Musically amazing. I think Blue Jay Way is the only weakish song but yet i can still listen to it easily.

Jimmy 4 juni 2006. Album Rating: 5 Magical Mystery Tour is great, but its far from The Beatles best in my opinion. Digging: Miles Davis - The Complete In a Silent Way Sessions

Chrisrudge 5 juni 2006. unbeliveable. true genius.have a toke and you,ll change your mind about blue jay way and flying

Nowoodnik 16 juni 2006. when i first got this album i hated blue jay way but ive warmed up to it since then and guess what? I STILL HATE IT. if goerge was such a genius why cant he write a decent song on his own? (if anybody cares i liked the rest of the album.) Mathias HIMSELF 16 juni 2006. Album Rating: 5 ummm.... Taxman anyone?

DownPaymentBlues78 17 juni 2006. Taxman, If I Needed Someone, WHILE MY GUITAR GENTLY WEEPS, , Something...?? None of those are decent songs? I think they're among the best Beatles songs.

Oni 24 juni 2006. I was going to review this for my first review, but I'm too tired to write it up tonight, and even if I did, there was no way it would match this quality.

Up The Irons 21 juli 2006. Album Rating: 5 This suprisingly my favorite album of The Beatles.

Flowing 28 juli 2006. Album Rating: 4.5 I can't begin to describe how much this album, the first Beatles i've listened to affected me and defined my tastes. My god, I am the Walrus is f***ing awesome. I feel like protesting every time after hearing the song. But i don't know about what.

Francesfarmer

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1 augustus 2006. Album Rating: 4 My second favorite Beatles album, second to Rubber Soul I'd think.

AnyColour74 11 september 2006. Album Rating: 3.5 not the best beatles work, but still good

Happybegood 19 december 2006. Album Rating: 3.5 I love I am the Walrus.

MrKite 26 maart 2007. Album Rating: 4.5 I never even realised how much of this I've heard. I'm excited to get this. I've wanted it for a few months but I just never had the money for an expensive Beatles cd. Judging from what I've heard this will be on very high rotation and I will consider it genious.

MrKite 13 arpil 2007. Album Rating: 4.5 Quote: this will be on very high rotation and I will consider it genious.

I'm, like, psychic or something. This blew me away and I'm waiting to see if it will keep it's classic status which is why I've put it at 4.5.

Bodominflames 27 juni 2007. I never reaally lked The Beatles much, but the song "I am the Walrus" is ****ing amazing, i cant stop listening to it...kinda ironic.

CoRpSeSlAyEr 27 oktober 2007. Album Rating: 5 The second best album by The Beatles, it's very close to Sgt. Peppers in greatness.

Correction 27 oktober 2007. Album Rating: 3.5 revolver, anyone? maybe some rubber soul? did they make an album called abbey road? what's this white album i hear so much about?

CoRpSeSlAyEr

109 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

27 oktober 2007. Album Rating: 5 Oh, they're all amazing, but i think those are the two best.

Correction 27 oktober 2007. Album Rating: 3.5 Okay, I was just making sure you weren't forgetting some of the greatest albums of all time. This album is very good, but it doesnt rank up with other Beatles albums. If, say, Fall Out boy released this, it would be their greatest album by a long ****in' shot. But compared to Sgt. Pepper or Revolver, I just think it's lacking. Think what you want though.

Forum nr.8 www.webomatica.com/wordpress/2006/12/03/music-notes-the-beatles-magical-mystery-tour/

Webomatica 3 december 2006. Music Notes: The Beatles, Magical Mystery Tour I’m on kind of a Beatles kick after seeing Love in Las Vegas, so I think I’ll plow through all The Beatles albums and post some thoughts. Since the songs are so familiar to me, I’ll rate each from one to five stars, and generate an amusing “Best Beatles Songs” list. My ratings may seem a bit harsh - but they’re relative to other Beatles songs - two or three star ratings appear often because the four and five star songs are so incredible. After listening to Revolver and Sgt. Pepper’s Lonely Hearts Club Band, hallucinogenic drugs might sound like a blast, but this unbearably meandering album is the downside, a confused, muddled, burned out mess. Who knows what really happened during the making of this one, but it wasn’t good. After the all- around success of Sgt. Pepper I suppose it was inevitable The Beatles would falter. This album was partner to a bizarre drug trip bus trip film that managed to make drugs look boring. Or perhaps it wasn’t just the drugs, but the hot air and ego-stroking following Sgt. Pepper that went to The Beatles’ heads, making them believe that filming their hair growing or John shoveling spaghetti would be an artistic masterpiece. Even more depressing is the fact that some of the best tracks, Strawberry Fields Forever, Penny Lane, and All You Need Is Love weren’t even recorded specifically for this album - they were intended as singles. The first two might have even made it onto Sgt. Pepper had The Beatles not been witholding singles from their albums. The only cool, drugged-out song is I Am The Walrus. The rest emphasize the worst aspects of The Beatles - their artistic excess, disparate musical styles, and self-indulgent grand-standing. Thankfully, they toned things down for The White Album.

Magical Mystery Tour 3 stars A decent enough album opener, continuing that “let’s go on a trip” show-time vibe from Sgt. Pepper. It has some neat vocals, a tempo change, and some zooming bus noises. If only something good was waiting around the bend.

The Fool On The Hill

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1 star Some people might like this song, but I don’t, not since I turned 21. The melody is daffy, the recorder solo completely stupid, and I don’t enjoy hearing a stoned grown man discussing a fool, whom I have no sympathy for, getting dizzy watching the world go round.

Flying 1 star This song makes me cry. “Flying”? “High”? Get it? Easily one of the worst Beatles song ever.

Blue Jay Way 1 star You’d have to be stoned to listen to “please don’t be long” as many times as The Beatles repeat, here. Why didn’t George Martin put a stop to this? There’s a neat cello part, but that’s all. And only someone really out of it would think a song about someone hashed out, bored to death, waiting for his friends to show up, would make a good subject for a song. Your Mother Should Know 2 stars I’ll give this Paul tune an additional star since it’s actually a complete song, but it’s still pretty bad. If this is the kind of song that was a hit before I was born, I glad I wasn’t around.

I Am The Walrus 5 stars Sometimes you get lucky, and although this song represents John at his most drugged out, paranoid, and nonsensical best, it’s a true marvel of avant-garde production, with a string section, horns, crazy sound samples beamed in from what sounds like beyond the grave, and a really whacked-out, borderline psychotic vocal. The imagery is beyond nuts: semolina pilchards, yellow matter custard, really great wacky stuff. I just need one representation of The Beatles’ “out there” phase, and this is it. Plus, it doesn’t put me to sleep like the other songs on this album.

Hello, Goodbye 3 stars This is a pleasant enough Paul song with good musicianship skills and interlocking melodies. Unfortunately, it’s the same innocence and cloying quality that filled much of McCartney’s career past 1975. The banal “Wonderful Christmastime” is a direct descendant of Paul’s musical hit- making assembly-line mind.

Strawberry Fields Forever 5 stars This is perfection. Maybe it was George Martin’s way of arranging the horns and strings just so, or the lucky happenstance of two different versions spliced into one, but everything about it is exquisite. John’s nostalgia, the sagging melody and instruments (reminding me of an umbrella soaked through a downpour) and the collapsing coda where the rattle of Ringo’s drums gives way to a spinning cartwheel of sonic effects. Even the last tantalizing moans of John in an altered voice (did he say “I buried Paul?”) was somehow worth obsessing over. A song with this many precious details deserves more than five stars.

Penny Lane 5 stars

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This is a perfect song, too. The high trumpet, the sinking, Beach Boys inspired bass line, the England-old-time lyrics, the sneaky-snide harmonies on “fish and finger pie” - so many glorious bits that beg for repeat listening. Even the key change leading up to a clanging piano chord is great stuff. (There was some talk that both Strawberry Fields Forever and Penny Lane would have been included on Sgt. Pepper, except The Beatles were still in the habit of recording singles and not including them on albums. The mind reels at the possibility.)

Baby You’re A Rich Man 3 stars The guitar playing is really sloppy on this one, and the goofy harmonium noodling is inappropriate. Just shoddy work here. I do get some laughs out of John’s energy and the way he blurts out “you keep all your money…” though. But I just can’t boost it beyond average.

All You Need Is Love 5 stars A great song because of the slightly rhythmically wrong Lennon verse, and the first time The Beatles explicity latched on to the “Summer of Love” thing. An awesome touch is the way the coda devolves into chaos, much as Good Morning Good Morning did on Pepper, but here symbolizing a world of people joining in on the positive message. The addition of a voice saying “she loves you” brings The Beatles’ previous legacy of fluffy pop songs forward to this song - also reminding us how much The Beatles had changed in the span of a few years.

Comments

Mike Davis 1 jaar geleden. You know what, I guess everyone is entitled to their opinion, But I think that anyone who can't appreciate beatles music is just to ignorant to see the beauty of their craftsmanship. It's not just the songs, their personality and their souls are eched into every record they have created.

Webomatica 1 jaar geleden. Hi Mike, thanks for commenting. I think you might be slightly misunderstanding the point of this project. I listened to every single Beatles song in more or less chronological order and some are definitely better than others, in my humble opinion of course. Each song was rated relative to the other Beatles' songs. Thanks for visiting and commenting!

Dave 1 jaar geleden. Hmm...you must be ignorant. Surely?!? If you cannot see that EVARY song they did is PARFEKT. is as gud as Hey Jood and Revolootion Niner. The thing that gets my goat is when the non-critical fanboy/fangirls out there accuse other fans who might not grant "exalted" status to every bit of work from an artist's ouevre as "ignorant". As if any criticism towards your object of affection would make you a "non-fan" or an unappreciative listener. Gimme a break. As before, everyone is entitled to an opinion. But the ignorant listeners are those too deaf to

112 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 consider the fact that The Beatles, like any other artists, had their share of hits and misses. What makes The Beatles "exalted", imho, is the fact that their hit-to-miss ratio far exceeded that of their peers (both past and present). Oh, and lest there be any mistake. I am a huge Beatles fan.

Webomatica 1 jaar geleden. Uh yeah. I think the other point I would like to add, is that if I did this project and gave every song five or four stars just because it was by The Beatles, that would be an even more pointless exercise, not to mention rather dull reading.

Steve-O 1 jaar geleden. The Fool On the Hill = 1 star ?????? This song must bring back bad memories for you or something because from a strictly musical point of view there is no way this song can be less than 3 stars. I personally would give it a 4 stars myself. However I do enjoy reading your reviews of all the albums and like your iTunes ranking system. I am still going through the ranking process myself.

Uncle Albert 6 maanden geleden. Only two stars for Your Mother Should Know? Although it may lack the depth of The Beatles' bigger hits, I think it is one of McCartney's best. Maybe it just comes down to aesthetic taste, but I think that the song is both extremely nostalgic and haunting, and the chorus is extremely catchy. The song may be simple, but, like most Beatles songs, there is an underlying feeling/theme that is hard to put your finger on: It's a song that you can listen to again and again and draw something new from. I felt that you were a bit hard on the first half of MMT. Sure, the actual tv special was pretty bad, but I think that these songs epitomize The Beatles during the psychedelic stage as a band-- The songs are trippy and the lyrics are fun. One star for Flying is extremely rough; It's a great song for just chilling (or smoking), the chant in the second half is great, and this song shows some of the versatility of The Beatles.

Forum nr.9 rateyourmusic.com/release/album/the_beatles/magical_mystery_tour_f4/

Magical Mystery Tour Artist The Beatles Type Album Released August 8, 1987 Rating 4.24 from 101 ratings Ranked #66 overall Common tags Genres Psychedelic Pop, Pop/Rock Psychedelic Rock, British Psychedelia,

Prokofiev 10 mei 2008 5 sterren.

113 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Érase una vez, hace mucho, mucho tiempo...(y en verdad hace mucho tiempo, que ya han pasado 40 años) que unos genios en la cúspide de su poder creativo, decidieron - y no de motu proprio, que bien que les presionó la EMI- cometer una de las mayores herejías que el mundo civilizado estaba dispuesto a soportar... apartar de su totémico tocho evangélico (léase Sgt. Peppers) a dos de las frutas más preciadas que la bicefalia Lennon-Mccartney fuera capaz de pergeñar: Strawberry fields for ever y Penny Lane. Desde entonces, el mundo aún se recupera de tamaño acto vandálico que empero (y por relativizar las cosas, que no todo es blanco o negro) dio como resultado un feliz nacimiento: al Sgt. Peppers le salió un hermano pequeño, bastardo él, pero con corazón de oro; y mira tú por donde, ese Magical mistery tour, que era un doble EP, de infructuoso proyecto cinematográfico, resultó ser al final cisne y no patito feo. Sí, sí...fue un acto vandálico, pero no tanto...

Rockingmonk 1 december 2006 4,5 ster. "Sitting on a cornflake, Waiting for the band to come." Where I've always felt that Sgt Pepper would have made a great EP, conversely I believe that Magical Mystery Tour (originally released as an EP here in the UK) was only ever complete when the full USA album version was released. In complete contrast to The Beatles' previous soundtrack / album hybrid (the patchy Help) to me Magical Mystery Tour stands as a solid, well rounded and pleasing listen. That's quite amazing when you consider that half of it is a soundtrack and the other half consisted of singles that the band had released in the previous twelve months. It shouldn't work, it should be messy and undisciplined. But it does work and it's infinitely preferable to Sgt Pepper which was recorded using the same techniques and at about the same time. Only two tracks dip below total brilliance, the nice but odd instrumental "Flying" (The Beatles' only credit shared equally between the four of them) and Harrison's "Blue Jay Way", everything else here is of the highest quality and as a collection of songs (even though they were never intended to be such) it's The Beatles at their best, with the title track and the unstoppably wonderful "I Am The Walrus" vying for the title of the most fun Beatles tune ever. If The Beatles do have an under-appreciated album then Magical Mystery Tour is surely it. It allows me to dip in and out as I choose and is an effortless listen. It's one of the most generous albums in my collection. "Goo Goo Goo Joob" indeed.

Forums Revolution No.9

Forum nr.1 www.mylot.com/w/discussions/675155.aspx

Steerforth 3 jaar geleden. The worst song Sometimes a lot of people ask which is the best song of The Beatles. Here I wanna ask you: is there a worst song written by The Beatles?

Smuggeridge

114 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

3 jaar geleden. this could be described as blasphemous. The Beatles are great! How dare you suggest that they could have a bad song but if i had to pick i might say "" on the White album, what the hell is that song about? but in truth its quite an entertaining song. I find it difficult to say any are bad

[reactie] Trustyfriend 3 jaar geleden. It is hard to find a bad one, but I personally am not a fan of Yellow Submarine

Clowninthemirror 3 jaar geleden. Don't exist =P

Colonelsanders 3 jaar geleden. idont know whether they have songs that are rubbish. Maybe you could find one or two in the earlier albums. The sounds are a bit static (i apologize to all beatles fans, this is my humble opinion). But for me they arent rubbish at all. They are just a bit boring.

Crispeater 3 jaar geleden. Revolution 9 from The White Album, although it's not really a song. Apart from that everything they did was great.

[reactie:] Kriskros 2 jaar geleden. I agree with u,I also do not like "Bulldog".But I am a great Beatles fan

Lydia1901 3 jaar geleden. I do not know all of their songs to pick out the bad ones. So, I can't really say for sure.

Mitdasein 3 jaar geleden. They definitely have quite a few songs that aren't masterpieces, but there's nothing that sticks out to me as particularly awful. I can find something to like in any Beatles song. If I had to trim a song from an album, I might go for "Honey Pie."

Thekidd 2 jaar geleden. Yes, How about Revolution Number 9, Not to good. Just a filler on the White Album. It would have sounded better played backwards.

Sponkit 2 jaar geleden. Probably the song "Why don't we do it in the road" is not a good song because it was too short.

115 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Someincome 2 jaar geleden. The Beatles always had very meaningful and melodious compositions. So nothing can be said to be 'worst' as such. However, some tracks were sold plainly under the magic that the name 'Beatles' carried, and it had no musical value at all. One of such tracks is Revolution No. 9. Its collection of noises which scare you, because they are played in reverse. I don't like that track.

Forum nr.2 loki23.blogspot.com/2004/09/beatles-revolution-no-9.html

Loki 24 september 2004. The Beatles Revolution No 9 Remember them? This is the sound of The Beatles splitting up: Yoko cackling, John lying on the floor counting his toes and snapping them off with wire clippers. He's got one left by the time the song begins and by then it's hardly a song at all. You can hear Paul in the background, full of HEAD cold; butting his head against the organ while Yoko cranks up her gulps and gasps (the primal screams are yet to come but the air is ready and waiting, the oxygen frying). Before anyone can yell NO, someone has crept up behind George Martin and contact-miked the sound of him tearing his hair out. George wants to get going but he's swirling like a dervish and his fingers have run out of bells. Ringo is trapped behind thick black soundproof glass by Martin Hamnett. He wants to play, to sing, to drum but none of his old friends will let him. The Beatles fans do their thing outside, their shrieks and orgasmagroans flooding into the bought- for lilts of the Mormon Tabernicals, conducted by Boulez and mixed down and out by bug-eyed old Stockhausen who EVERYONE is keeping at arms length. Ringo just wants to play.

I first heard this in a bizarre Electro-acoustic music lesson at Yeovil College. At the time, Wednesday afternoons was for sport and forced academic enthusiasm. I'd finished with football and badminton (won one, lost one), been chucked out of Photography for allegedly 'lewd' (cf badly focused) pics of some of the sluttier Park School girls and found myself in Appreciating Modern Music (or thereabouts) taught by a demented old guy called (for memories sake) Mr Crane. He'd play various unlistenable modern classical composers and teach us to appreciate the noise and the fury of modernism, serialism etc. We got Stockhausen, Berio, Ligeti, Boulez... and he'd enthuse by saying things like: (i'm paraphrasing) "Abandon All Rational Thought" while we listened to Hymnen (Hymen?) or whatever. The idea was that we'd listen to modern masters and then put together our own compositions with a view to shattering accepted knowledge about the nature of melody and tempo. For a month or so the words Sing Circle chilled me to the bone. We'd all try hard with our portable 4 tracks to make atonal music but somehow, in Mr Crane's eyes (did we call him Cran-ium?) we always failed. We'd put together compositions using electric can openers and typewriters and then play the tapes to the class while everyone shuffled nervously and hoped for the best. Crane would listen intently, with furious concentration and then give us his verdict: "Can anyone

116 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 hear it? CAN they? It's, my God, it's...a tune!' This was the worst insult. Mr Crane hated tunes. "I give you Cage, Crumb, Ligeti and you...you give me this...this bagatelle" None of us knew what a bagatelle was but it was always bad. "This is abandoned thought? This gives us a glimpse into the abyss at the heart of the industrial world? This tune? This is eighteenth century pap my boy! This is Mozart! This is...it's...Handel." A gasp. A Handel was the worst mark of all. Mr Crane didn't like but he did like Revolution No. 9. Mr Crane, wherever you are, alive or dead (surely dead); this is for you. The Beatles - Revolution No.9 [verwijderde link]

Comments:

Anonymous 11:57. wowza. love the story. i think about my old teachers quite often... but i'm glad i wasn't in your Mr. Crane's class... i'd tell him that to me Cage sounded quite a bit like Mozart... Ligeti sounds quite like Handel to me... HANDEL!!!

Psychobloke 12:32. How many Mr R**** stories d'ya reckon there are out there?

Psychobloke 12:33. PS. I saw that post on Mr Gutter - you wouldn't let it lie would you ? Ya wouldn't let it lie......

Spoilt Victorian Child 13:28. Thats one of the best posts i've ever read in the blogging world....Excellent stuff. Thank you. Simon x

Forum nr.3 preflash-gordon.com/Music/Beatles/Revolution_No__9/body_revolution_no__9.html

DLee82993 12 november 1999, 08:31:49. Hello Beatle Philes...I am rather new to the White Album and was taken aback by this haunting track.....did the band ever state what the meaning of this bizarre track is? it also sounds like it may be played backwards, if so what does it reveal?is...)

Ec.music.beatles 12 november 1999; herzien op 22 maart 2004. Ha! God bless you - welcome to one of the oldest subjects in all Beatledom. The Beatles were all recording fanatics who loved to experiment with music and tapes and tape recorders, both in and out of the studio. Right from the early days they started buying themselves home reel-to-reel tape recorders and then taking them home to see what would happen if you put a tape on backwards, or at a different speed, or through various filters. Some of these taped effects

117 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 turned up later on actual Beatles records. The introduction to “Sun King” on Abbey Road, for instance - which sounds like bells and crickets - is an experimental home tape made by Paul. On the other hand, sometimes their experiments would go into outside projects, like London’s “Festival of Light” in 1967, for which The Beatles created a random soundscape. But “Revolution No. 9” has the distinction of being the only prolonged experimental piece of non- musical sound that ever made it onto any Beatles record. In this case, it’s not a joint effort, nor was it a tape made at home. The main force behind the track is John, and the sessions took place at Abbey Road in the spring of 1968. By the time of the ‘white album’ sessions in 1968 John was a man whose life was in transition. The previous year he had met avante garde artist Yoko Ono at a London gallery, and by the time John returned from India in the spring of 1968 he was openly in love with her and looking for a way to end his marriage to Cynthia. The press had a field day with this - especially when John started turning up in public with his new Japanese girlfriend - but soon it became apparent that this wasn’t a flash in the pan. John stuck to Yoko stubbornly, and the two were inseparable. George Martin remembers how, at the commencement of the White Album sessions, John arrived with Yoko and that was that. She was by his side ever after. John always maintained that one of the reasons for his love for Yoko was that she woke him up creatively in ways he hadn’t felt in a long time. She was also a safe haven for him in a world that - including Paul - lately seemed a little less safe than before. Remember that, just half a year before starting the White Album, The Beatles’ manager Brian Epstein had died, following which had come the public and critical disaster of Magical Mystery Tour. The Beatles all felt buffeted by these events, and in the latter case even (perhaps a little self-indulgently) hurt that their collective inner child had been so resoundingly spanked. Home from India, they quietly resolved to follow their inner personal muse even more resolutely than before. The only problem was, it was a muse with a newly-developing case of schizophrenia. The White Album sessions were not the happiest times for The Beatles. The group which had been so united the previous year while making Sgt. Pepper was now motivated by new, strong currents of individual expression. Everybody wanted to do their own thing, and nobody wanted to do anybody else’s thing. This led to many wonderful songs being recorded in new and unique ways; but it also led to constant bickering on the studio floor, and a general day-to-day atmosphere of tension. It got so bad that Ringo quit at one point; and at the end of the sessions , The Beatles’ groundbreaking engineer, walked out for good. (He didn’t return until Abbey Road sessions the following year.) Part of the trouble was that there was simply so much material at hand; The Beatles had spent months in Rishikesh, India, with nothing else to do but meditate and write music. Write they did, and when they convened at EMI in May George, John and Paul between them had more than two dozen songs and song ideas waiting to be developed. In the past this would have been considered a creative goldmine, but now it was a source of tension. The trouble was, each songwriting Beatle wanted all of his songs to be on the upcoming LP - but it was doubtful, even in a two-LP set, that there would be room. This soon led to jockeying, which quickly bred feelings of competition and mutual mistrust. The Beatles, who in the past had always been such good friends, willing to accomodate each other, now became sulky, touchy, and unbending. Some nights they worked in separate studios, on separate songs, alone. The fact is, the four Beatles were growing apart. As the band entered their mid-twenties their tastes were maturing, their temperments were changing, their characters maturing - in different directions. Paul and John were becoming particularly estranged. John began seeing Paul as a hyper- competitive, self-serving square who would smother him, if allowed, in Beatle-rock-pop conformity; while Paul saw John as a loose cannon who, given half a chance, would wreck the

118 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 whole band with his offensive pseudo-artistic agenda. Sadly, feelings like this frequently bubbled to the surface during the White Album period, and about the only reason the group didn’t split up this year instead of next is that it was just too big a step to contemplate. In 1968 the band was so successful, so much of a worldwide musical and cultural institution, that ending it was all but unthinkable: it was much easier to look for smaller solutions. Maybe they were just in a bad patch? Maybe the old magic would return if they just hung in there? Maybe it was just the stress of newly- founded Apple causing so many fights? The Beatles had weathered tough times before; and their friendship, for better or worse, went back to the mid-1950s. Even John shrank from taking such an enormous step as ending it all. So for now, the glue held. But the White Album, as a result, is strewn with schismatic tracks. “Wild Honey Pie” and “I Will” are performances entirely by Paul. “Why Don’t We Do It In The Road?” is Paul and Ringo. “Back in the USSR” is John, Paul and George. “Piggies” and “” are all four underneath, but both were entirely finished - even down to the mixing - by George. “Julia” is a solo performance by John, and “Revolution No. 9” would be one too if it weren’t for a little help here and there from George. In fact, it’s hard to find a recording on the whole album where all four Beatles are playing together with anything like the old joy and verve. “Birthday” is one. “” is another. For “Revolution No. 9,” John decided that he was going to go into Abbey Road studios and create a long experimental soundscape of the kind he and Paul and George had done at home for years. Ringo didn’t participate, and George only contributed a few scraps of sound here and there (saying random things like “Eldorado”). Paul wasn’t even in England at the time. He was visiting America when the recording was made. In preparation John spent several days assembling taped effects and making loops of them. On the day of the first session (June 6, 1968) he showed up at EMI with paper bags literally stuffed with tape loops under each arm. Commandeering every available reel-to-reel tape deck in the building, he wired them all into the various consoles in Studios One, Two and Three, then plugged these together into a single master recorder. With various people using pencils to keep the tape loops at proper tension, the various playback decks were then started. John then sat at the mixing board by the recording deck, and manually brought different faders up and down, allowing this sound or that one to be heard. In this way, he would create experimental sound segments. In later sessions - held on June 10, 11, 20 and 21 - he created new segments, or joined existing ones together. In this way “Revolution No. 9” was made. The reason it’s called “Revolution No. 9” is that the basic track underlying it all was a long, freewheeling jam session on the song “Revolution” that had been recorded at EMI several weeks previously. At one point in “Revolution No. 9” you can hear John going “Right! Right! Ri-i-i-i- ght!” etc. That’s him at the prior “Revolution” session, singing over a band you can no longer hear. In all the reading I've done, John has never said there was any literal meaning to be derived from ”Revolution No. 9.” It is almost certainly not a story from A to Z with clear chapters. But that’s not to say some sort of “story” isn’t happening here; it’s just that, if it is, it’s a subconscious one. IMHO, John was simply trying to free his mind and sort of improvise like a jazz musician, using sound instead of music. And yet, even though the effects are apparently random, what always strikes me when I listen to this piece is how organized, and musical, it really is. It has movements. It has tempo. It has high notes and low notes. At times it’s very dramatic; at other times slow, peaceful. After listening to the track several times you can almost “sing along” with it, as each movement becomes more familiar. It’s not a song, I guess, but who cares? Really, I find it quite lovely and eerie. Haunting is a good word for it. To me it's like a radio-play dream. At the time, as I’ve said, the other Beatles weren’t terribly impressed. Although George helped here and there, he also called the song “heavy” and frankly admitted he didn’t like it (David Wigg interviews, 1969). Paul wanted it kept off the album altogether - partly, it seems, because he simply

119 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 didn’t like it, and in part (some say) because he was jealous. Paul had also been making experimental tapes for years and was angry that now John would get all the credit for being The Beatles’ avante-garde groundbreaker. (Paul: “I loved John, but he could be a maneuvering swine.”) Only Ringo expressed no opinion that I can find. George Martin thought it was “interesting,” but he also thought the white album was an out-of-control monster and should have been a single LP with only the best songs included. In that case, of course, “Revolution No. 9” would never have been heard. But the White Album wasn’t a record where anybody was prepared to sacrifice for the sake of anyone else. So cutting it down to a single album would never have worked. The repeating “number nine, number nine,” by the way, is from a Royal Academy of Music test recording that John found in the EMI vaults. The announcer is saying something like, “This is Royal Academy of Music test recording number nine,” from which John clipped the end part. I’ve never listened to it backwards. But there’s probably fun things there.

Forum nr.4 www.head-fi.org/forums/f9/revolution-9-a-40938/

Revolution #9

CRev2002 11 augustus 2003, 01:23. I apreciate most of the material The Beatles have released but for me, nothing tops the White album. Possibly the most intruiging song ever released is revolution #9. It reminds me of a more experimental and more abstract DJ shadow. Is there any other music similar to Revolution #9? thanks

Doug W 11 augustus 2003, 03:11. What are you on dope?

Bundee1 11 augustus 2003, 03:25. Hey Doug why dont you just ask him if he's "taking the weed"?

Blessingx 11 augustus 2003, 07:41. There's a bunch of stuff out there, but a good start may be Sonic Youth's Goodbye 20th Century. Wildly influential four-piece Sonic Youth have self-released their version of a tribute to the 20th century: two discs of noisy interpretations of modern, experimental classical scores. The group has chosen composers whose works leave a great amount of innovation open to the performer. This chance-embracing approach--typified and in some senses originated by --is one of the crucial turning points of "new" music. What's great about this CD is that it demonstrates the freewheeling, decidedly unserious spirit behind this music, essentially combining the legacies of and out-sound. In addition to three late works by the chance-loving Cage, there are pieces by current Merce Cunningham collaborator Takehisa Kosugi, minimalist giant Steve Reich, "deep- listening" drone lover Pauline Oliveros, and Fluxus founder George Maciunas. Longtime collaborator Wharton Tiers, the young everything-ist Jim O'Rourke, and even some of the

120 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 composers themselves join in on these exercises. The result is messy, fun, and anarchic, with occasional revelations (notably James Tenney's "Having Never Written a Note for Percussion"). It's not a disc to play all the time, but it is a challenging, enthused record that ideally will point listeners toward some of the most vital music of the last half of the last decade of the second millennium. -- Mike McGonigal

Zowie 11 augustus 2003, 14:48. Revolution #9 is a "song"???

Blessingx 11 augustus 2003, 20:56. As the "jokes" keep coming... a few other suggestions- Try Aarhus Sinfonietta's Avantgarde Favorites Of the 20th Century for a more traditional approach. Lounge Lizard's No Pain For Cakes. Possibly also John Zorn's New City. Maybe explore the Frank Zappa catalog, though I prefer the possibly smarter Captain Beefheart's output.

Crev2002 12 augusts 2003, 00:37. thanks for the last replies. These suggestions will make for some interesting listening. I didn't think people would make fun of me for enjoying an experimetnal masterpiece. ALthough Revolution #9 lacks the conventional music foundations, it still has a direction and the sounds cohesively fit together. It makes for a supreme headphone experience. DOn't dismiss it. And the only dope I'm on is love of music

GuineaMcPig 12 augusts 2003, 02:12. I'd like to defend Crev2002 on this one, guys. There's absolutely nothing wrong with getting together with the homies, ripping a tasty bowl from the biz-ong and grooving to the rhythms of the universe. Toke on, CRev, toke on

Doug W. 12 augustus 2003, 02:27. Your taking the weed aren't you? Just as I thought!

Djgustashaw 12 augustus 2003, 02:33. revolution no.9 = teh suxxor

CRev2002 12 augustus 2003, 04:26. A few things. Guinea McPig, Taking weed is a dangerous activity that defies God's wishes and manipulates your mind into thinking psychotic thoughts. Please never insinuate that I smoke marijuana ever again. Now, I have to pray for your lost soul. NO doug, I am not on the weed. I am on a little drug I like to call love....and you should try it too.

121 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

I had no idea what that last reply means so I asked my friend who is savvy in computer language and he translated it "Revolution #9 is the best work The Beatles ever released. Whether you categorize it as music or avant garde sound poetry, it is a gift that never stops giving"

Dusty Chalk 12 augustus 2003, 07:46. You should also search out some Christoph Heeman/H.N.A.S., Soma, Black Lung, Shinjuku Thief, Zoviet France, Mick Harris & Martyn Bates. The Beatles may have been first with "", but they were by no means the best. And I just want it to be noted that I restrained myself from making a "high on your own supply" comment. The first time, anyway.

Blessingx 12 augustus 2003, 08:13. They weren't the first either.

CRev2002 13 augustus 2003, 00:22. I'm sure they weren't the first and probably not the best which is why I'm interested in listening ot more. I'm glad they tried it out because it was an interesting way to introduce sound collage to the main stream.

Dusty Chalk 13 augustus 2003, 04:36. Quote: Originally posted by blessingx They weren't the first either.

Oh, yeah, duh. (smacks self on forehead)

Cello 13 augustus 2003, 06:20. Quote: "Revolution #9 is the best work The Beatles ever released. Whether you categorize it as music or avant garde sound poetry, it is a gift that never stops giving"

It is not the "best" work that The Beatles ever recorded. It is indeed the most experimental and perhaps even most interesting work they've ever recorded, yet not the best. There have been many other interesting experimental works of this sort produced later (and earlier, as blessingx mentioned).

Cello 13 augustus 2003, 06:23. Also check out Zaireeka by the Flaming Lips

CRev2002 13 augustus 2003, 09:42. yeah I bought zaireeka the first chance I could after I heard about it. OH and that quote was just a

122 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 joke in response to the previouse response that made no sense to me. Although "best" is an abstract and subjective term to throw around, Rev #9 isn't my favorite beatles song. It is the most intruiging beatles song in my opinion. The Beatles released such a wide variety of quality music that I can't even pick a "best" song.

Forum nr.5 en.wikipedia.org

Anoniem “Revolution 9” Album The Beatles Released 22 November 1968 Abbey Road Studios Recorded May-June 1968 Genre Musique concrète, avant-garde Length 8:22 Label Appele Records Writer Lennon/McCartney Producer Geroge Martin The Beatles track listing Side one 1. Back in the U.S.S.R." 2. "" 3. "" 4. "Ob-La-Di, Ob-La-Da" 5. "Wild Honey Pie" 6. "The Continuing Story of Bungalow Bill" 7. "While My Guitar Gently Weeps" 8. "" Side two 9. "" 10."I'm So Tired" 11."Blackbird" 12."Piggies" 13."" 14."Don't Pass Me By" 15."Why Don't We Do It in the Road?" 16."I Will" 17."Julia" Side three 1. "Birthday" 2. "Yer Blues" 3. "Mother Nature's Son" 4. "Everybody's Got Something to Hide Except Me and My Monkey" 5. "" 6. "Helter Skelter" 7. "Long, Long, Long" Side four

123 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

8. "Revolution 1" 9. "Honey Pie" 10."Savoy Truffle" 11."Cry Baby Cry" 12."Revolution 9" 13."Good Night”

Music sample “Revolution 9”

"Revolution 9" is a musique concrète track that appeared on The Beatles' 1968 self-titled LP release. The recording began as an extended ending to the album version of "Revolution", to which were added vocal and music sound clips, tape loops, reverse sound/music and sound effects influenced by the musique concrète styles of , Edgard Varèse, , and John Cage, further manipulated with editing and sound modification techniques (stereo panning and fading). At over eight minutes, it is the longest track on the album, as well as the longest Beatles track ever officially released, excluding the unreleased track "Carnival of Light" (which clocks in at 13 minutes, 48 seconds), which is said to carry avant-garde influences as well. The work is credited to Lennon/McCartney, though it was primarily the effort of John Lennon. (This was Lennon and McCartney's standard practice, to share songwriting credit on all songs written by either or both.) George Harrison, Ringo Starr, and Yoko Ono made small contributions, while Paul McCartney did not actively participate in the track's creation. Ono's avant-garde influence on Lennon's compositional style is clear throughout "Revolution 9." Believing the track to be too uncommercial for even the Beatles to get away with, McCartney and producer George Martin fought hard to keep the track off the The Beatles, but Lennon and Ono won out, and the track was included as the penultimate track of the album's fourth (and final) side.

Structure and content "Revolution 9" starts with a conversation between George Martin and : Alistair Taylor: ...bottle of Claret for you if I'd realised. I'd forgotten all about it, George, I'm sorry. George Martin: Well, do next time. Taylor: Will you forgive me? Martin: Mmmm...yes.... Taylor: Cheeky bitch. (Although this conversation is usually known to be the beginning of "Revolution 9," the time tracking from the CD indicates it as the tail end of the previous track, "Cry Baby Cry," following Paul's short solo song "Can You Take Me Back.") After a brief piano introduction, a loop of a man repeating the words "number nine" (taken from an EMI examination tape) begins to be heard. This phrase fades in and out throughout the recording as a motif. Then there is chaos: feedback, impromptu screaming, rehearsed overdubs, and more tape loops. As some portions of "Revolution 9" are recordings of other music (from bits of Sibelius, Schumann's "Carnaval" and Beethoven, to a backward snippet of a tuning orchestra, culled from the session tapes for A Day in the Life), the piece can be seen as an early example of sampling. Other audio elements include various bits of apparently nonsensical dialogue spoken by Lennon and Harrison, various found sounds, reversed sounds and recordings of American football chants. Also heard is the "all right" from the end of Revolution 1 (this piece was supposed to be the coda to

124 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Revolution 1 but was pushed back to several tracks after it). Also at 6:58 you can hear what seems to be the intro to Harrison's "While My Guitar Gently Weeps" played much faster on piano.

Backmasking A of the beginning of the song [link/muziekfragment] When played backwards, the 'number 9' part sounds like 'turn me on dead man', as shown by this audio sample. "Revolution 9" played an important part in the infamous "Paul is dead" controversy. Most notably, the repeated "number nine" played backwards can be heard as "Turn me on, dead man." Various snippets of speech included in the recording were heard as hints left by the band about Paul's alleged death.

Charles Manson During the course of the Tate/LaBianca murder investigation, member Paul Watkins related to Los Angeles District Attorney Vincent Bugliosi Charles Manson's belief that "Revolution 9" was a reference to Revelation 9, a book in the Bible that speaks of apocalypse and prophecy. He believed the Beatles were speaking to him through this piece, and he drew many odd interpretations from the lyrics. It was also the battle of Armageddon, the coming black-white revolution portrayed in sound, Manson claimed. According to Poston: 'When Charlie was listening to it, he heard in the background noise, in and around the machine gun fire and the oinking of pigs, a man's voice saying "Rise"' (it is first heard 2 minutes and 34 seconds into the track, just after the crowd sounds that follow 'lots of stab wounds as it were' and 'informed him on the third night' and just before 'Number 9, Number 9'). This is actually Lennon saying "RIGHT!", as in "ALL RIGHT!" In his own statements, Charles Manson has repeatedly denied Bugliosi's assertions that The Beatles influenced his philosophy. He has acknowledged that the "kids" in his camp were fond of The Beatles, but Manson himself was never a fan. He has claimed his tastes were more toward the likes of Hank Williams and other beer hall balladeers from the late '50s and early '60s.

Personnel • John Lennon – tape loops, spoken vocals, effects, snippets and samplings • George Harrison – spoken vocals, tape sampling • Ringo Starr – effects and spoken vocals • Yoko Ono – tape loops, spoken vocals, effects, snippets and samplings Some spoken parts from George Martin are present, along with selected piano outtakes that sound as if they were lifted from either Honey Pie or Martha My Dear, both written and played by McCartney.

Cover versions During a concert on 31 October 1994, played all the songs from The Beatles (except "Good Night") as one of the band's "Halloween musical costume" extravaganzas. The show has been released in its entirety as Live Phish Volume 13. Phish's version was more into parody and humor. In 1996, Australian dance rock band DEF FX led by celebrity witch Fiona Horne recorded a version of "Revolution 9" for their album Majick. It is done in a techno dance style with a whole different mish-mash of sound effects and sampled vocals from Fiona and keyboard player Sean Lowry. In 2002, Estonian avant rock band NE! performed a reinterpretation of the piece at a minor festival in Tartu called "Lennon's Birthday Party". In NE! version "vocals" are sang quite closely to original

125 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 but the band added their own tape loops and instrumental (guitars, drums) pieces. The performance was filmed and is uploaded to YouTube. In 2006, The Durham Ox Singers recorded an a capella vocal rendition of "Revolution 9." In 2007, American Beatles tribute band The Beatles US made a jokey mersey beat styled "cover" as "Revolution #9 (Paul's original 1963 demo)". In 2008, the contemporary classical chamber ensemble performed an orchestral arrangement of "Revolution 9" as part of the Bang on a Can summer marathon in New York City. It was arranged by Alarm Will Sound member Matt Marks.

See also • Carnival of Light

External links • A minute-by-minute piece summary • Revolution 9 detailed analysis • A recording of Revolution 9 played backwards • Alan W. Pollack's song notes • The Beatles Bible: Revolution 9 • Manson and The Beatles • Is Paul Dead? Turn me on dead man! The Original Radio Show

Forum nr.6 magazine.jamsbio.com/2008/11/10/songs-184-to-180/

Jbev 10 november 2008. Playing The Beatles Backwards: Songs 184 to 180 To most Beatles fans, choosing between the songs of the Fab 4 is a bit like choosing between children. But, on the JamsBio exclusive, Playing The Beatles Backward, one intrepid fan dares to rank the original songs of The Beatles and give his reasons why in a worst-to-first countdown. Check back each day for the next five songs on the list, prepare to hit the message boards to defend your favorites, and follow the countdown all the way to Number 1.

184. “Revolution 9” Shortly after recording “Revolution 9”, John Lennon allegedly went around telling friends that his new song was the music of the future. Well, here we are, 40 years later, and I don’t see the pop charts filled with experimental song collages featuring recording engineers, chanting football crowds, mangled orchestras, and bizarre non-sequiturs. Most Beatles fans will defend “Revolution 9” as the group pushing the boundaries of rock music. But they had already proven countless times that they could do just that without inducing headaches in the process. I mean, really, is there anyone out there who can honestly say that they listen to “Revolution 9” and actually enjoy it? If you’re looking for a Japanese horror-movie vibe, maybe, but, as music that is pleasing to the ear, no way, no how. Lennon also believed that “Revolution 9” was the bee’s knees because it was the type of music that anyone could make. But here’s the thing: The Beatles were great because no one made music like they did. In a million years, I could never reproduce anything that’s even in the ballpark of songs like “Hey Jude” or “In My Life.” But, if you locked me in a room with a bunch of reel-to-reel

126 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 machines and mikes, some generic classical recordings, a few cans of Jolt cola, and a chainsaw, I believe I could give a pretty decent approximation of “Revolution 9.” To novice Beatles fans, I warn you not to believe the hype about “Revolution 9.” I’ve listened to it many times over the years, waiting for the light in my head to switch on so I could unlock its mysteries. All I’ve ever gotten out of it is the vague feeling that immediately after listening to it, something is going to rise out from under my bed and butcher me in my sleep. And so, as John spookily says in the song (and I use that term loosely), “Take this brother, may it serve you well.” In fact, feel free to take it, because I just don’t get it and I never will.

183. “Honey Pie” If we could imagine The White Album as a poker game, then “Honey Pie” was Paul McCartney’s re-raise to John Lennon’s “Revolution 9.” As in, “I’ll see your unlistenable, aggressively off- putting, avant-garde nonsense and raise you a piece of faux-vaudeville drivel so corny that Lawrence Welk turned it down for not being edgy enough.” What The White Album lacked was any sort of pruning process. The Beatles basically threw everything at the wall and kept it all in whether it stuck or not. Whether it was the frayed relationships of the band at the time, the absence of Brian Epstein, or just plain indifference, no one was ready to stand up and say that any particular song did not meet the band’s standard of excellence. And that’s why misfires like “Honey Pie” snuck by. For what it’s trying to do, “Honey Pie” isn’t terrible. It’s just that it doesn’t belong. When Paul went down this old-timey avenue before with “When I’m Sixty-Four,” it worked just fine because it was a better song and because it seamlessly fit Sgt. Pepper’s all-encompassing approach to pop music. But, despite its reputation as a progressive piece of music, The White Album, with a few notable exceptions, is split pretty evenly between hard-rockers and gentle folk songs. When “Honey Pie” enters that mix, with its Prohibition horns and Paul hamming it up with embarrassing scatting and loopy falsetto, it’s jarring in the worst possible way. Much has been made about hidden messages on The White Album, and I’ve got one for you that you may not know about. If you listen real closely to “Honey Pie,” you can actually hear the other three Beatles rolling their eyes as Paul sings. Short of that, there’s not much to recommend this one.

182. “I Want You (She’s So Heavy)” “Heavy” is the operative word here, isn’t it? “Heavy” as in “Heavy Metal,” the musical genre that was, in 1969, just beginning to emerge from the primordial ooze in the form of Jimmy Page’s thunder-god guitar and Robert Plant’s banshee wails. “Heavy” as in “weighty” or “lumbering,” because this song moves along like the proverbial beer truck underwater. And “heavy” as in “Wow, man that’s heavy,” a dated slang term meaning “profound” or “deep.” Actually, maybe the word “dated” best describes “I Want You (She’s So Heavy).” Whereas most of The Beatles songbook is timeless and sounds as fresh today as it did 40 years ago, this Abbey Road track is still stuck in some clichéd version of the 1960’s. Cue the footage of JFK, dancing hippies and Neil Armstrong, and you can begin The Wonder Years episode any time. What got The Beatles in trouble late in their career was that they occasionally forgot what they did best. In a misguided attempt to recapture their early days before big productions and theme albums and the like, they tried to make it happen by simply sitting down together in a room and playing. But this just led to noodling and jamming, the terms used by mediocre bands worldwide that lack great songs. You can debate whether or not John Lennon’s simplistic lyrics here are powerful or painful (I think he nailed the to-the-point approach much better a year later on John Lennon/). But it’s hard to deny that this song goes on interminably, and the feeling I get when that sudden ending

127 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 comes up can best be described as relief. Just too heavy for me, man.

181. “Yer Blues” Boy, it really feels like I’m picking on Sides Three and Four of The White Album, doesn’t it? Let’s just say that I share in George Martin’s contention that The Beatles should have separated the wheat from the chaff and come up with one really killer, hit-packed LP. Just think of all the unreleased stuff that could have been in the vaults for Anthology 4! I think John Lennon got stuck between ideas here. Deep in his heart, I believe he wanted to expose some of the torment that he was enduring, the stuff that he always buried inside bouncy pop songs like “Help,” but he just wasn’t quite ready to go all the way. Hence, you get astrological references and winking shout-outs to Dylan in the lyrics. The psychological revelations would have to wait until therapy and his solo career. Meanwhile the music is as serious as a heart attack, and about as much fun too. The Beatles assimilated many forms of American music effortlessly, from country to Motown to, obviously, rock and roll. But the blues never quite fit into their wheelhouse. It feels like they’re trying way too hard here, and all that strain drains most of the emotion from the song. At one point in the instrumental part, they kick free for a little bit and rock out, and it’s a nice break. But then it’s right back into that sludgy main riff. Lennon’s guide vocal can be heard in the distance in the final verse, straining to be heard over the pounding guitars and drums. That unintentional isolation spoke a lot more powerfully about John’s state of mind at the time than anything else this song clumsily attempted to reveal.

180. “Good Day Sunshine” Do you know those relentlessly cheerful people who mean well but really need a slap? We all have worked with one of these people at one time or another, the kind who ask how you’re doing and then are disappointed when you say you’re just fine, not super. They whistle while they pee, and make small talk for no reason whatsoever other than to incite latent homicidal impulses deep within your soul. Well, those people would probably have “Good Day Sunshine” ranked much better than I do. After all, their mantra is right there in the first line: “I need to laugh.” Nobody can possibly derive this much joy from the weather, can they? Paul McCartney sings the title refrain about 20 times in the song, which is barely more than 2 minutes long. That’s happiness overload. Many Beatles songs evoke joy; this one shoves joy down your gullet until you beg for mercy. It sounds more like an advertising jingle than a rock song. That said, I suppose there might come a day when I win the lottery, or the Vikings win the Super Bowl, or that annoying co-worker falls down the steps, when I’ll step out into the radiant afternoon and belt out “Good Day Sunshine” at the top of my lungs. Nah, it’ll still be annoying.

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The Master List | JamsBio Magazine [...] 184. “Revolution 9” [...]

Carey Revolution #9, no problem. Definitely the worst. I would replace all four of the other choices on the ‘intrepid fan’ list with songs which are clearly worse than these. ‘’ comes to mind. It is custom-designed to stink because of the subject matter of the song, and it succeeds

128 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 consummately. ‘Don’t Pass Me By’, while loved by many as the cute first song by Ringo, is a big dud. It has no lift to the rhythm, especially for being written by a drummer. The lyrics and melody sound made up in 5 minutes by a child. ‘Goodnight’ is terrible(written by John I believe). It’s completely uninteresting and sappy and the over-orchestration is almost creepy, like a 50’s horror movie. Well, those are the songs which I really don’t like by The Beatles. Now it gets harder. To replace the 4th of 5 bad songs, I’ll have to choose ‘Flying’, even though I like how it sounds and it brings very fond memories of discovering the psychedelic era Beatles. But there’s no ingenuity and it seems to have very little thought put into it. This isn’t true of #183 through 180 of the intrepid fan’s list. I would not want to even attempt to rank the remaining 179 Beatles songs!

Diego21 Great list man. I wouldn’t put myself to this task, it is clear you’re going to receive a lot of complains. Starting by me obviously. I couldn’t agree more with the last two (revolution 9, Honey- pie) but the other I seem to like, specially I Want You, which even fits in my top 10, but I kinda get what you mean. I like the version of “Yer BLues” played by the -(was it dirty?)- Mac on the Rock N Roll Circus. Keep going, think you have skipped Doctor Robert.

Stacey Allen Kudos JBev! I cannot for the life of me imagine taking this project on but you have and you’re off to a great start… disagreements and all. I think there’s few amongst us that would disagree with your No. 184. Try and try and try… no matter how many times I’ve listened to it, I just don’t “get” it. Honey Pie… maybe. The other three I would put up higher myself and in at least one of their places would add “She’s Leaving Home.” Everything in me knows it is a good song, but there’s something in it that has always turned me off. I look forward to reading the rest of the list!

JamsBio Magazine [...] 181. “Yer Blues” [...]

AuroraSkye I so agree with the ones you are picking altho like the comments above– I would add “Don’t pass me by”, “Goodnight” and “She’s leaving Home.” I would also add “Here there and Everywhere” !!!! Ick == it is so sacharine sweet it gives me diabetes. I will definitely be coming back here to read your additional songs in the count-down.

Richard Forman Wow….I enjoyed reading it and look forward to the rest, but don’t agree at all with any of your first five picks, especially I Want You which I consider a stone classic. As for Revolution 9, I think to appreciate it you have to wrap your head around the concept that with some art and music, the goal of the artist is not to have you “enjoy it.” You say it evokes in you a feeling that “something is going to rise out from under my bed and butcher me in my sleep,” I think that’s probably a lot closer to what John wanted to do to you with this piece, than to just give you something catchy and pleasant as per usual; and it sounds like the track still succeeds at that even after all these years. The roller-coaster ride of emotions that Revolution 9 takes you on, from brief false lulls of peace to terror and confusion, is unlike anything else The Beatles or anyone else I’d say have ever achieved on an album track. It’s really the heart of the White Album in some ways. My “worst” list would also have several selections from White, including Don’t Pass Me By and Rocky Raccoon.

129 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 richforman

Barb Your list is interesting; although I have to disagree with a lot(not a lot; but, all). I agree with Richard Forman about Revolution #9. I also disagree with Honey Pie and Yer Blues. The white album is appropriately entitled “The Beatles” because it is a mix of all the styles and concepts that made The Beatles great. What other group could take us from the 30’s sound of “Honey Pie” to Revolution #9? Actually, I don’t agree with your other choices either. “Good Day Sunshine”? What’s wrong with a good dose of happiness every now and then? I think each song is worthy of discussion and analysis; however, I believe that each song in the entire catalogue of Beatle music is a masterpiece; and; therefore not able to be categorized as “worst-to-first”

JamsBio Magazine [...] Mark Lanegan Sunday At Devil Dirt 11 | 10The Beatles Played Backwards - The Master Countdown 11 | 10Songs 184 to 18011 | 09Fandemonium: 12+ Classic Rock Websites11 | 08Celebrating Arthur Russell: 5 Essential Cuts11 | [...]

Marie May not agree, but this is fun to read. Thanks.

JoeyJoeJoeShabadoo I just need to comment on “I Want You (She’s So Heavy)”, because it would probably be in the top ten in my list, not the bottom ten. This song, without a doubt, showcases The Beatles’ technical prowess on each of their respective instruments better than any other song they ever recorded, and that’s a big deal. It’s not uncommon to hear someone say The Beatles were fantastic , but had no chops as musicians. Whenever I hear this, “I Want You” is the song I point them to. It has John Lennon and George Harrison performing some exceptionally fantastic, exceptionally smooth guitar interplay (listen to John nail that solo), Paul McCartney playing one of the grooviest, most difficult bass lines he’s ever put on record(listen to all the improvised embellishments on the second half), and it even has Ringo finally going nuts on the drums, especially during the ending. For all the songs you could claim prove the genius songwriting of The Beatles, “I Want You (She’s So Heavy)” stands out as the one song that definitively proves The Beatles were also exceptional musicians.

Mo have to agree with carey about Goodnight and Flying.But,come on.Only a Northern Song is great.Because it didnt make Pepper,does not make this a bad song.I love it.It shouldve replaced Within You,Without You.

Malasdair None of the worst five are Ringo songs? And She’s So Heavy, one of the five best Beatles songs, on the bottom five? Thanks for playing, but you don’t even get the consolation prize.

Lalom I like to listen to revolution 9 when i’m sporting or doing homework, so there is someone who listens to it and likes it. And I think Let it be, Yesterday and Rocky Raccoon are the worst songs.

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Mario “honey pie” in #183? You were supposed to be doing a song by song list, not saying that “honey pie” is better than “when I’m sixty-four” just because it is in a different album. first and last visit to your website.

Milan Hi. If you want to talk about a song that lasts… When I was sixteen (i´m 25 now) the one song from Beatles that we play over and over was I Want You (She´s so heavy). That song has a teen spirit, but isn´t shallow since i like it very much today. (And not just because of good memories from high school). I also like Yer Blues, because of the John´s voice it has some energy that I can relate too.

Fjodor Revolution no. 9 is the single most important song about the band itself. It is a statement about historical moment and about how they see themselves to fit in. Revolution no. 9 also changed history of comprehending what shoud or should not be presented by the respeced artists. “…vague feeling that immediately after listening to it, something is going to rise out from under my bed and butcher me in my sleep.” That something is called censorship. Actually any ranking of art is in a way censorship. Best to all!

J-Beezie I appreciate what you are trying to do here. You will inevitably piss a lot of people off, of course. The brilliance of The Beatles is their huge diversity of styles. They were one pop band that could go from Welk saccharin to Zeppelin Heavy on a dime… and still manage to hit the top of the pop charts everytime out. Somehow, old farts who cringed at even the mellowest Black Sabbath tracks could stomach Helter Skelter. People who find Zappa too weird just smile when that zanny loop after A Day In The Life jumps out at you. [at least on CD it ends without you having to go to the turntable and pick up the needle] However, my friend… from your comments about the songs and your choices, one thing is obvious: You are not a tripper. The acid test for The Beatles… is acid. If you’ve enjoyed some lysergic excursions at some point in your history, you WILL get Revolution #9, you will LOVE I Want You [especially the lumbering She's So Heavy part], and even the cheesy Honey Pie will probably make you smile and feel cozily reassured. These things make sense in the context of a trip. In much the same way that coming out of a dark forest at 3am and raiding the pantry stocked with grandma cookies is a revelation at a certain stage of a psychedelic journey. It seems you are not a big fan of the 60’s. Your comments about cueing the newsreel footage of dancing hippies et al shows your disdain. You also have homicidal tendencies towards people who are happy. Instead of being happy for your pronoia exhibiting, euphoric colleague you choose to feel as if their happiness is an attack on you. Thus you are either jealous and vengeful or somewhat evil. No offense, but perhaps you should try whistling while YOU pee. So, I have to wonder why you chose to immerse yourself in The Beatles of all groups. Wouldn’t you be a better critic for something more angst ridden and darkly modern? The Beatles are the archetypal 60’s band. From mod to deliriously happy rockers to flower power and revolution, they run the gamut. You do realize that this is the band that made Yellow Submarine, and tended to smile and laugh to the point that their early movies were like slapstick vaudeville? If all you like about The Beatles is their pop craftsmanship and effortless hook spinning… and perhaps their influence on other pop songwriters… maybe you are not really a true fan? Anyway… have fun.

131 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

EBO I agree somewhat with J-Beezie. Youve got to get stoned (sometimes out of ur mind) to enoy a couple of Beatles songs. “Because” sounds much better, as does “Good Day Sunshine” and of course “revolution 9″

BOJAN MARSETICH Let’s say something about The Beatles. The worked hard to be who the were. they played all nights without pausing 6 H per night for some time. So, if someone thinks that today musician are close or that competent as them is F. wrong! Yeah, of course, they had BIGGGGGGG inspiration and TALLLLENT, but the way they played (don’t listen to SHE STADIUM - The barely heard themselves), YOU LISTEN BAD BOY or something from 63-64, You can hear that genuine ROCK AND ROLL sound and THATS IT - ABOUT PLAYING! Today I also play guitar and have my own songs, bur when I start to record I maybe miss that hard work that is audibile to what to play when record, in fact your every single move on instrument or every tone you sing is the result of your COMPETENCE in music. Unless you don’t have talent of course. Beatles did almost every song in less that let’s say 10 takes? Well, that is IT. I say, most (NOT ALL) people who are musician and try to imitate the playing style of The Beatles are KIDS, rather GO PLAY ON REAL Stages to smeel the “sound”, THAT IS THE REAL SOUND, WHERE YOU CAN START FROM AND YOU WILL HEAR THE SOUND MAYBE. I am talking about the sound YOU produce and not some effect or EQ, You can make the EQ. Did’t mean to attack anyone, just a few word of mine. TAKE A MAGICAL MISTERY TOUR ON YOUR GUITAR!

Dre Well, I don’t know; I’m not one of the happiest people around and I understand your sentiments about what we in Holland call “blije eikels” (happy pricks), but I get more out of this song than just sheer happiness. Somewhere deeper, there’s some sadness as well, it feels more like a manic episode to me than just Paul being gay (no pun intended). I find that in other seemingly happy songs. Take ‘don’t stop thinking about tomorrow’ by Fleetwood Mac, which is actually born out of gloom (like most real positivity). Or the perfectly polished repertoire of ABBA, which, when you listen more closely, is about heartache most of the time. J.B. Dazen I’m actually one of those people who enjoys Revolution 9. When I was a kid, I was genuinely afraid of it. But now I love it for all the sounds. You can listen to it for ages and still find new sounds. You’ll probably need some growing up if it still scares you ;-). The rest of your reviews physically hurt me. Not getting Revolution 9 is tolerable, but writing down those four classic beauties is beyond me. If I had to make this list, I’d probably end up with a 100 number 1s, and lots of 2s and 3s :).

Lynda Interesting site, J! Keep up the good work. I wonder, really, how their music can be completely treasured unless you happened to be there—in that particular time. I can remember coming home from school and putting an album on the turntable, or better yet, go to a friend’s house that just happened to be a “music geek” and listen to the latest Beatles album fresh from the music store. We created long lasting, rich, and unique memories with this music. Also, J don’t forget the drugs back then, especially acid. Revolution 9 is probably best listed to (and writing) while taking acid, but don’t go there. I think we were all a tad strange back then, but society expected us to be nothing

132 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 less. The Beatles were a perfect fit. I remember having Abbey Road on 8 track and bebopping around town with my friends listening “I Want You (She’s So Heavy)” It was certainly an entertaining riding around song. How dare you dis “Good Day Sunshine”! It ALMOST ranks with the other weather song, “Here Comes the Sun”. Even high school students need a lift now and then! You know, I cannot remember that we really looked very far into the meaning of their music. We just enjoyed it. Many of us have tucked these songs away into the folds of our brains along with the memories they created, to be brought out and reflected on every now and then

Steve Wow, pretty decent job so far, but you missed some bad songs that deserve to go before these ones. Ever heard A Taste of Honey, Within you Without you, Here there and everywhere, Why Don’t We do it in the Road?, or Run For Your Life?, casue these are all definitely worse than what you have so far

70's Vin I agree with Revolution #9 being a low ranker, but I don’t see Drive My Car on the bottom of the barrel? That’s about the only Beatles song I truly despise! Some are better than others, true, but Drive My Car just grates my nerves in a way I can’t explain. Between that, and Revolution #9, they are just about the only 2 I skip when they come up on random……well maybe some of the Sitar Harrison songs too.

[email protected] Well can’t say I’m suprised by the choice as “worst Beatle song.” On the contrary, it’s one of my favorite Beatle tracks, if not my favorite (thats Hey Jude.) I don’t think people realise how intricatly the track is put togehter (indeed Lennon took more time on this, than any other song on the White Album.) Music of the future? 100% Think about it. What other time was the world exposed to avantgarde music, and at such an early time in it’s development to where it is now. Sure they weren’t the first to make music like this, but they were one of the first. This song has sampling, fragmented sound, anything you could imagine. Thank God this paved the way for the likes of Negativland and the Tape-Beatles. Sure it was a throwaway track, an experiment, and it’s certainly not for everyone. But for such a popular band to release such an edgy track is truly gutsy, and I’m glad they did it.

[email protected] and another thing. I’m pretty sure Yer Blues is a joke, or meant to be humorous and perhaps satirical. And you can’t tell me the live version at Rolling Stones Rock n Roll Circus with the supergroup didn’t kick ass.

Stephen barnes As a rabid Beatle fan , I appreciate the fact so much thought and time were taken in making your opinions clear . It certainly makes for interesting reading . But perhaps a little less stress... ..Seriously …You seem somewhat sressed. I always listen to The Beatles to calm me down …To help me become lost for a short while . That being said, I have added this website onto my favorites and look forward to reading more of your thoughts from time to time

133 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Forum nr.7 nl.wikipedia.org

Anoniem “Revolution 9” Nummer van The Beatles Van het album The Beatles Releasedatum 22 november 1868 Opname Mei-juni 1968, Abbey Road Studios Genre Experimentele muziek Duur 8:22 Label Schrijver(s) Lennon-McCartney Prodcent(en) George Martin

Volgorde op “The Beatles” 28 29 30 Cry Baby Cry “Revolution” “Good Night” (3:03) (8:22) (3:11)

Muziekportaal Revolution 9 is de titel van een in 1968 uitgekomen nummer van The Beatles, op hun album The Beatles (ook wel bekend als White Album). De opname begon als een verlenging van het einde van het nummer Revolution. Er werden vele conversaties, muziekfragmenten en geluidseffecten in gebruikt. De geluidseffecten waren geïnspireerd op de Musique concrète-stijlen van Karlheinz Stockhausen, Edgard Varèse en John Cage. Ook werd er geëxperimenteerd met knip- en plakwerk in de tape, moderne technieken als stereobalans en fade-in- en fade-out-effecten. De inspiratie voor het nummer zelf kwam van de rellen in Parijs in mei 1968. Doel van het nummer was het geweld van de revolutie weer te geven. Met zijn acht minuten is dit het langste nummer op het album en meteen ook het langste officieel uitgebrachte nummer van The Beatles. Het nummer is bedacht en hoofdzakelijk gemaakt door John Lennon en viel niet erg in de smaak bij de anderen. Vooral Paul en George Martin hebben volop hun best gedaan om te voorkomen dat dit nummer op het album zou verschijnen. Uiteindelijk is dit wel gedaan, mede omdat The Beatles maar muziek voor een enkel album klaar hadden, terwijl zij volgens contract een dubbel-LP moesten maken.

Songtekst De enige tekst die in het nummer zit zijn de conversaties en uitroepen. Omdat de conversaties door geluiden en effecten worden overstemd is de tekst moeilijk te verstaan. In de inleiding zijn Alistair Taylor en George Martin te horen, daarna vooral John Lennon en George Harrison.

Paul Is Dead Volgens een gerucht zou Paul McCartney in 1966 verongelukt zijn en vervangen door een lookalike. Nadat in 1969 dit gerucht werd verspreid kwam er een hype op gang om hiervoor bewijs te vinden. Zo werd ook in Revolution 9 een hoop aan "bewijs" gevonden. Zo hoort men wanneer Revolution 9 achterstevoren wordt afgespeeld een aantal typische teksten, waaronder 'turn me on, dead man, turn me on, dead man' (omgekeerde van "Number nine") en "let me out, let me out!"

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(2.25 min), wat Paul zou voorstellen die uit het brandende autowrak probeert te ontsnappen. Normaal afgespeeld lijkt het geluid van de regelmatig terugkerende protestmars "Paul's not dead!" te roepen.

Forum nr.8 www.songmeanings.net/songs/view/787/

Good Night Lyrics Now it's time to say good night Good night sleep tight. Now the sun turns out his light Good night sleep tight. Dream sweet dreams for me Dream sweet dreams for you. Close your eyes and I'll close mine Good night sleep tight. Now the moon begins to shine Good night sleep. Dream sweet dreams for me Dream sweet dreams for you. Now it's time to say good night Good night sleep tight. Now the sun turns out his light Good night sleep tight. Dream sweet dreams for me Dream sweet dreams for you. Good night good night everybody Everybody everywhere. Good night. Comments

Venusinfurs 2 september 2002. Rated 0. ...perfect song...amazingly john's contribution...i don't try and get into the meaning of this too much...its just john's farewell to the dream...(although on plastic ono he'd give you the revelation)...wdc

Bobo192 6 maart 2003. Rated 0. There is no meaning to it, it's simply meant as a lullaby... and, from the limited notes I can remember on the subject, it's Ringo who sings it. Indeed, The Plastic Ono Band is the true revelation of the dream set by the farewell of this song.

Helterskelterpaul 1 mei 2004. Rated 0.

135 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 this song is created by john lennon for his beloved son julian. he was sing this song when julian go to sleep wolfplaya07 6 mei 2004. Rated 0. Who's to say that there's no meaning in it? Did you write it Bobo192? I'm not meaning offense, but I'd have to say that any song I've ever heard has some sort of meaning... whether I agree with it or not, without meaning, there would be no song. Being that Lennon and McCartney are also two of the most acclaimed musical visionaries of our time, I think it has lots of meaning.

Bobo192 7 mei 2004. Rated 0. True, I'm sorry. I'm just takin' information from stuff I've read. I was in essence agreeing with venus that that there isn't much to read within John's revelation. Smilin', as always

ThePlaygroundMiracle 10 december 2004. Rated 0. I find it funny that this song comes on right after Revolution No. 9. Revolution No. 9 was nothing but a joke, and I think this is just adding to it.

Thrdognite 26 januari 2005. Rated 0. Great song...puts me in a spooky, calm mood. Lennon did a wonderful job on this, and he did right by letting Ringo sing it.

I_LOVE_CAMP 23 december 2005. Rated 0. I love to going to sleep to this song! It is ridiculously peaceful! I've got no energy today.

Swish 7 januari 2006. Rated 0. Sounds very Disneyesque. Coming straight after Revolution 9 I think it is just a bit of humour

LucyInTheSkyWithRH 13 juni 2006. Rated 0. i love the fact this song closes the white album. the album takes you for such an incredible trip, it truly blows your mind off and then there's this sweet little song, a lullaby, like saying: 'thank you ladies and gentlemen, have a good night'... like anyone could sleep after listening to the album! ;)

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Onthelongview 9 juli 2006. Rated 0. this song is nice to hear after revolution 9 because your creeped out and scared from the prior song then this comes on and your like "wow there's nothing to be afraid of huummmm" anyhow. Good song to end a long album heh

Johnlennnnon 24 januari 2007. Rated 0. I just read "john," written by Cynthia Lennon, and she syas that he wrote this song for Julian, right before he left.

WorshipTheArtGods 17 maart 2007. Rated 0. I agree with with "OnTheLongView." That is actually what I was about to type before I read that. It's very true really. When on drugs, Goodnight is a good song to follow Revolution Nine...By the time you start crying from fear, they come back to comfort you. I must say that I believe they put this song last for a reason.

WorshipTheArtGods 17 maart 2007. Rated 0. Also, I love this song because at the end when he whispers, it seems so..so personal. Long live The Beatles.

GotSpoo? 15 juli 2007. Rated 0. "Long live The Beatles." It's 2007. The Beatles have disbanded and John Lennon was assassinated.

Olidipto 22 december 2007. Rated 0. hweeeee... this song makes me weep..... :'[ I listened to Good Night alone in my room miles away from home.... & suddenly I miss my home 'n parents. How can they made such a beautiful song, wth Ringo's voice fits in.

Stayfreshiceland 14 oktober 2008. Rated 0. i read above some people thought it strange or maybe not really the case that people'd fall asleep to this album. i'll tell you from experience ive listened to this album many times before bed and this song has the same effect as entire sigur ros albums in putting you to sleep pleasantly. this is a song i really like by The Beatles, im glad they did it. its sort of a disney ish tune and just adds to the variety of tracks they put out

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Forum nr.9 www.beatlesagain.com/breflib/rev9.html

Isaac Samuel 24 oktober 1995, 09:17:39. Reference Library: Revolution No. 9 Newsgroups: rec.music.beatles Subject: Number 9, Analysis

This is an analysis of The Beatles' sound montage, "Revolution #9". I endeavor to show that John would consider it among his best works, and show what I feel are the autobiographical elelments of the piece. From "Lennon Remembers" (1971), pg. 29: Jann Wenner: "Let me ask you again, are you pleased with the new album (PLASTIC ONO BAND)?" John: 'I think it's the best thing I've ever done. I think it's realistic and it's true to me...that has been developing over the years from "In My Life", "I'm a Loser", "Help", "Strawberry Fields." They're all personal records. I always wrote about me when I could. I didn't really enjoy writing third person songs about people who lived in flats and things like that...' 'The only true songs I ever wrote were "Help" and "Strawberry Fields." I can name a few...I can't think of them offhand, that I always considered my best songs.' Now, the way I remember it, John had wanted to release "Revolution #9" as a single, but the other guys wouldn't allow it. In this alone, you would think John considered this a "best song". Add this to the fact that the song is very biographical, which by Lennon standards qualifies his best work. You can set a biographical time span on the song by zeroing in on the time Beatlemania makes it appearance in the piece. This is a good place to plot the son's timeline from: At 4:02, a clip of an actual Beatle audience awaiting the arrival of the group is introduced. The fans are all excited, you can kind of sense a "hey, Beatles!" attitude among the guys, and the female fans are obviously ready to start screaming. At approximate 4:06, you get a tune up, like a group preparing to go on: a tone of an instrument, and a singer warming up like a "mi, mi- mi- mi, mi-mi". This is The Beatles at their moment. What follows at 4:18 is the sound and feel of their tours. John on touring: "[The Hunter Davies book] was really bullshit...there was nothing about the orgies and the shit that happened on the tour... I mean we had that [innocent] image, but man, our tours were something else...you know, The Beatles tours were like Fellini's SATYRICON." (Ibid. pg. 84) At 4:18, after you hear the shrill screaming of the female admirers (remember, an actual Beatle sound clip), we are introduced to the sounds of a debauched, orgiastic event, with John "licking his lip's and smecking", so to speak, perhaps the most insidiously powerful moment in the piece. Notice the sound of the crashing cymbal, like a whip cracking over everything. The Beatles on tour. The Beatles marketing phenomenom. The height of Beatlemania! The whip cracks over everything. This mounts until.. 4:50. Public acclaim from both (all) sides, sounds like an audience applauding after a show. The boys have done it, they're a universal success. John is on a crazy ride. At 5:00, the "hold that line" tape is introduced. The only thing I can make of this is that in England, you have the "firms" of the football crowd, blokes and birds that go and get crazy over their teams. Drunkenness, fights with rival firms, etc. are common at these bashes. They are known as very

138 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 violently loyal fans. This could imply intoxication, or something going on in the streets... 5:28. The Sgt. Pepper period is introduced, with the final note of a "Day in the Life" (again, actual Beatle sound clips, LSO recordings from the Pepper sessions). This is repeated three times (5:28, 5:42, 5:48), and once more at 6:24. The war sound effects in this section might be a comment on VietNam; they could refer to "How I Won the War". At 6:25 the whip starts cracking again. But by 6:30, the song starts moving out of the past, and into the present (at least the present when the song was made). We hear a miltary band (Pepper playing for the fans?), then jump from the past to the present at the immediate "Take this brother, may it serve you well", 6:47. We are present at the moment of artistic creation, so to speak... 6:50. Inside with John and Yoko. We are witness to an true autobiographical moment, getting so close to John and Yoko that it feels like we're in their bedroom. Yoko is expounding, John is waking up, and starts droning something as in the backround, a crooner parody of Paul singing a period-piece song goes on ("Good fishes again in the kettle?" Paul as the Walrus? Just what is he saying?). This part ends with Yoko inviting us to get naked with the Lennons: John's life has been laid bare, so to speak, in an experimental musical piece... This is just an outline; it's a little more difficult plotting the timeline from the begining of the 'song' to the the emergence of Beatlemania, but not impossible. A baby crying - John's youth? "Every one of them knew that as time went by they'd get a little bit older and a little bit slower" - John growing up? How about the honking horns of the first part of the song? Is this a memory of the accident which claimed his mother's life? &c. As you see, there's a good case to consider this one of John Lennon's best pieces, in my and probably in his own opinion. Don't let the experimental nature of the work alienate you. I have a strong feeling this song will stand the test of time and will someday be considered a Beatles masterpiece, brushstrokes and all... As this piece deserves more credit than it usually gets, it gets my vote for Most Underrated Beatles Song ever. Cheers, Isaac Samuel

``````````````````````````````````````````````````````` "In Pepperland, all things are possible." - "John" "The resemblance is truly striking." - "George" (?)

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Instrumental Discografie Legenda: Onderstreept: er bestaat eveneens een vocale versie van Schuin: Niet opgenomen op een album Bron: www.dmbeatles.com

Album Datum/industrie Instrumentaaltjes Please Please Me Parlophone '63 With the Beatles Parlophone '63 A Hard Day's Night Parlophone '64 Meet The Beatles (met 11 bonus-tracks) Capitol '64 Cat's Walk Beatles For Sale Parlophone '64 Another Hard Day's Night, From Me to You Fantasy, In the Tyrol, James Bond Theme, The Bitter Help! Parlophone '65 End, The Chase Rubber Soul Parlophone '65 Revolver Parlophone '66 Sgt.Pepper's lonley Hearts Club Band Parlophone '67 Magical Mystery Tour Apple '67 Flying The Beatles Apple '68 Revolution nr. 9 Pepperland, Sea of Time, Sea of Holes, Sea of Monsters, March of the Meanies, Pepperland Laid Waste, Yellow Submarine in Yellow Submarine Apple '69 Pepperland Abbey Road Apple '69 Let it Be Apple '70 At The Hollywood Bowl Capitol '77 Live at the BBC Apple '94 Anthology 1 EMI '95 Cayenne, Cry for a Shadow Anthology 2 EMI '96 Within You Without You Anthology 3 Apple '96 Rarities Parlophone '78 Sgt. Pepper Inner Groove

140 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009

Film Instrumental Discografie Legenda: Onderstreept: er bestaat eveneens een vocale versie van Schuin: Niet opgenomen op een album Bron: www.dmbeatles.com

Films Datum Instrumentals A Hard Day's Night 1964 Ringo's Theme (This Boy) Pepperland, Sea of Time, Sea of Holes, Sea of Monsters, March of the Meanies, Pepperland Laid Waste, Yellow Submarine Yellow Submarine 1969 in Pepperland Another Hard Day's Night, From Me to You Fantasy, In the Tyrol, James Bond Help! 1965 Theme, The Bitter End, The Chase Let it Be 1970 Documentaire Flying, Jessie's Dream, Shirley's Wild Magical Mystery Tour 1967 Accordion

141 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009

Muziekvoorbeelden

Cat Call – Chris Barber Band: http://www.youtube.com/watch?v=jspoXNl4ECo&feature=PlayList&p=0F556A217F38FFB7&pla ynext=1&playnext_from=PL&index=21

Cayenne – The Beatles: http://www.youtube.com/watch?v=-bHaGbuvzPQ

Cry For A Shadow – The Beatles: http://www.youtube.com/watch?v=TXCwyxmEF5U

Flying – The Beatles: http://www.youtube.com/watch?v=ey22KqGWHwU

Revolution No.9 – The Beatles: http://www.youtube.com/watch?v=lwQiQLqAKOA

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