|  Author | Topic: Revolution 9 (Read 920 times) |
Revolution 9
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|  | Revolution 9
« Thread Started on Mar 29, 2005, 3:29am » | |
AT = Alistair Taylor, GM = George Martin, JL = John Lennon, GH = George Harrison, YO = Yoko Ono
AT ... bottle of claret for you if I'd realised. I'd forgotten all about it George, I'm sorry.
GM Well, do next time.
AT Will you forgive me?
GM Mmm.. Yes ... [ with a smile in his voice ]
AT Cheeky bitch!
1:00
JL: "Mrs Welsh wearing a pair of sun brown underpants"
1:10
JL: "about the shortage of grain in Hertfordshire. Everyone one of them knew that as time went by they'd get a little bit older and a little bit slower .... This was on the air force set thing"
1:20
JL: "manufacturing person who was always umpteen types of 'umpty dumpty ---- finders, yep ah diddly ... Peak District was leaving intending to pay for ..."
1:59-2:06
GH: "Who's to know? Who's to know?"
JL: "colours for the season. Everybody who knew ..."
2:16
JL: "Pakistan ... also spoken for"
GH: "every day through the business terms"
JL: "had informed him on the third, and I, that unfortunately he was"
3:07
GH: "Every few days ..."
JL: "in a pair of brown under" [edited away, clothes, pants?]
3:26
GH: "local doctors that are --- this may seem"
JL: "I have nobody's ..."
3:46
GH: "on Eaton, with the situation"
JL: "They are standing still"
GH: "upon a telegram from the"
4:04
GH: "to us played it false as the headmaster reported to"
JL: "who could tell what he was, his voice was low and his eye was high and his eyes were glowing"
GH: " ... Sunday, He really ... became a great deal ... "
4:22
JL: "on fire, his glasses were in t'safe, this was"
GH: "into, which enabled him to move his"
5:03
JL: "certain, so the wife told him he'd better go to see a surgeon .... or what with the price .... yellow underclothes".
JL: "So, any road, he went to see the dentist instead, who gave him a pair of teeth, which wasn't any good at all. So instead of that he joined the bloody navy and went to sea."
5:37
JL: "in my broken chair, my wings are broken and so is my hair. I am not in the mood for wearing"
6:01
JL: "Dogs were dogging, cats were catting. Birds were birding, Fish were fishing. Thence Pwllheli, went swimming"
6:18
GH: "only to find the night watchman"
JL: "onion soup"
GH: "unaware of his presence in the building"
6:34
JL: "Industrial output, financial imbalance"
GH: "Thrusting it between his shoulder blades"
JL: "The Watusi, The Twist"
GH: "Eldorado"
6:54
JL: "Take this brother, may it serve you well"
7:04
YO: "Maybe, it's not that, it's .... maybe, even then, expose yourself ..."
7:26
YO: "It's almost like being naked"
7:54
YO: "if ... you become naked"
Paul is dead ... Paul est mort
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ForNoone
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| | Re: Revolution 9
« Reply #1 on Mar 29, 2005, 10:49am » | |
Thank you for the transcript 
Everytime I have played that song in my house, things have turned strange. People around me have gone into a trance state & had strange experiences.
I won't allow that song to be played in my home again. It's just plain EVIL !
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jojo
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| | Re: Revolution 9
« Reply #2 on Mar 29, 2005, 6:55pm » | |
Yes thanks for that, it's quite a help. You may be interested in this alt version, without a few things edited out.
http://www.jojoplace.com/Shoebox/Rev9/Alt%20Revolution%209.mp3
And a clip of the same:
http://www.jojoplace.com/Shoebox/Rev9/altrev9clip.mp3
Reason being, these words spoken by.. (?) (John maybe)
And his hands were tied, his feet were dented, his nose was burning, his head was on fire, his glasses were insane (or in flames)....this was the end of his (audience) (I'm not sure about the last word)
And at the end, no Yoko, but:
JL: Take this brother may it serve you well
GH: Thank you
GH: I'd just like to say
My reaction is not as strong as yours ForNoOne, but I agree it creeps me out..
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ForNoone
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| | Re: Revolution 9
« Reply #3 on Mar 30, 2005, 1:30pm » | |
Could they have burned Paul's body before dumping him in the ocean 
Questions, always more questions
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Athenais
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| | Re: Revolution 9
« Reply #4 on Mar 30, 2005, 9:43pm » | |
Revolution 9 is about the events of September 1966.
Maybe it's an outpouring of the horror that John experienced when Paul and Brian were killed. He was effectively silenced. He couldn't talk to anyone about what happened, what he knew, what he felt. He wasn't allowed to grieve. He could only express himself and tell the truth through his music.
For me Revolution 9 is the sound of a soul, or many souls in great pain and horror.
I think John put a lot of care into the piece to get the right effects. He wanted to record the events in a way that couldn't have been told in an interview, or announced dryly in a newspaper, or passed around in casual gossip. He wanted to capture the sounds of the hell of those deaths, and he did it perfectly.
The people shouting "PAUL EST MORT" sounds like a revolt, a defiance, an uprising.
Brian's body burned in the crash.
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Just
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| | Re: Revolution 9
« Reply #5 on Mar 31, 2005, 11:25am » | |
That song has been nfused with so much energy, I'm afraid that it does have a megative effect at times.
Somehow, I don't think John wanted this to happen. However, he wasn't the only one involved in making that song. A certain WITCH had a big hand in it 
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Just Me
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| | Re: Revolution 9
« Reply #6 on Mar 31, 2005, 11:25am » | |
That song has been infused with so much energy, I'm afraid that it can have a negative effect.
Somehow, I don't think John wanted this to happen. However, he wasn't the only one involved in making that song. A certain WITCH had a big hand in it
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sistermaryabbey
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| | Re: Revolution 9
« Reply #7 on Apr 3, 2005, 1:18am » | |
I don't seem to have the same reaction to the song that ForNoOne has. However, I will admit to not having played it in some time.....don't think I have played it since having exerienced some weird phenomenon in my house.
Yes, the b*tch witch was right there and Joko is pure evil. John was not able to express his feelings for the loss of Paul....not like a normal human being....but he found his own expression. He also lost himself in a drug maze trying to forget what he had seen.
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Athenais
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Posts: 551
Location: Underwater
| | Re: Revolution 9
« Reply #8 on Apr 16, 2005, 11:37am » | |
Quote:From: candl <70004.2001@CompuServe.COM>
Newsgroups: rec.music.beatles
Subject: Number 9, Analysis
Date: 24 Oct 1995 09:17:39 GMT
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 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
http://www.beatletracks.com/barchive/rev9.html |
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...and this bird you cannot change. |
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