Great video. Ringo did not 'refuse' to play on this particular track, though. He just wasn't around because of a row and they decided to press on, recording it without him. A more apt title might be 'The song they decided to record without Ringo'
The bass part is one of the things that really makes this song stands out, but to my mind the drum work is really the most powerful contribution to the song. It is unique in the Beatles’ catalogue.
I can’t wait!!! This is definitely in my top 10 potentially top 5 Beatles songs, one of lennons best guitar riffs and lyrics It just exudes an aura that makes me feel a glimpse of enlightenment every-time I listen to it that no doubt comes from his meditation retreat in India.
There's a theory that Ringo dubs in drums for the crescendo. I can believe it, because the fills that happen at the end have finesse that I have never heard from Paul. He can keep a straight beat and do straight ahead fills, but - take "She Said She Said" or "Baby You're a Rich Man". The fills in there are more in keeping with the ending bars of "Dear Prudence".
OMG, lads! I have been very familiar with the White album since 1968 and have performed Obladi-Oblada hundreds of times as a singer and guitar strummer. It has never ever even crossed my mind that it is a reggae influenced song or I guess more correctly, ska influenced. A quick visit to Wikipedia confirmed that Paul wrote it in ska style and that the silly phrase was stolen from a Nigerian musician. I feel a little better as I read that John changed the feel of the song dramatically with a faster piano introduction making it a "mock music hall" song. That's more like what I've always seen it as...
David, you're supplying a chord change that isn't actually there during the walkdown. On the high E string, you have John playing a G (natural) note in bars 3 and 4, giving a true G/B chord in bar 3 and Gm/Bb chord in bar 4. Now I can't really isolate those notes with my equipment, that is, the notes on the high E string, but that's because there's an electric guitar sounding at precisely the same time, and drowning out the acoustic sound, but just the B and E strings only. And the F#, which you have correctly played in bars 1 and 2, never changes. It never goes up to G. And there's no way that John is playing the changes that you're playing, underneath an electric that's sitting on F#. So although you do have to change fingers, or at least I do, the D and F# notes that he's playing on the B and E strings are unchanged throughout the walkdown. So bar 3 is a Gmaj7, and bar 4? Your guess is at least as good as mine on how to name that chord. It's the same one that's played in bar 3 except the B natural comes down to Bb. My gods, that is so much harder to explain than it would be to just show you!
I just listened to it again and it's possible that it's not an electric playing over John on those notes. That might just be John. They certainly do not sound like a clean acoustic sound. But you spoke earlier of that chorusing effect, and the rest of his part definitely does not sound unaffected. It's quite possible that the reason that just those two strings / notes ring out so distinctly is not that there's an electric playing over the top, but that however John's guitar sound was being "processed" combined in just that way with the fact that those are the only strings that are not wound. I've never noticed such a pronounced difference between the wound and unwound guitar strings on a recording before. And I never had any reason to examine this any more closely before now; long better I was even playing, I heard those notes being so distinct that I just assumed that it was an additional instrument. But the more I listen, the more I think that's incorrect. So I'll stand corrected if you, too disagree with my original impression of an electric playing those notes. But that does make my original point all the more inescapable, that he never changes the notes on those two strings throughout all 4 bars of the bass walkdown. I'm hoping this alignment stays intact... 1 4, 1 4, 1 4, 1 4 F# ... D, F# ... D, F# ... D, F# ... D
Revolution in the Mind goes through every single song. George Martin also wrote a few books with a lot of detail. If you're into the technical aspects of recording there's a 5(I think) book series breaking down every song and what they used in the studio, down to microphones and speakers.
I THINK that was the time-out which Ringo wound up spending on Peter Sellers' yacht in the Mediterranean, which in turn gave us Octopus's Garden. I'm not certain of the timing though. You guys probably know that story already, right? Very briefly, the yacht captain showed Ringo that octopuses retrieve bits and pieces of bling, which they place around their hollows, probably to attract mates. Octopuses are actually among the animals that score the highest on IQ tests, right up there with great apes and corvids (crows, ravens, kites, etc), so maybe they just do it to entertain themselves, Idk.
One thing I've NEVER understood: 1) The Beatles finish the greatest album in history (Sgt. Pepper) and are one kick-ass cohesive unit. 2) They go to India and experience peace and love and enlightenment (sort of) 3) They return to England to record the White Album and suddenly they're all fighting. ...So what the fuck happened? What am I missing? Any insights??
Ringo was fully capable of varying the tempo, but he did so more discretely. Even on the White Album, you can hear this on “Back in the USSR” and “Why Don’t We Do It in the Road,” just to cite two examples off the top of my head.
Nicely done. Great song. David's demonstration of John's quirky finger-picking was most interesting. There are some pervasive theories that Ringo overdubbed the Ringo-ish drum fills starting at the 2:45 mark on this track. Several videos out there that cover this. For example: ruclips.net/video/ptAmOYIFIx8/видео.htmlsi=D-34LHni9alNhiPW
Great video. Ringo did not 'refuse' to play on this particular track, though. He just wasn't around because of a row and they decided to press on, recording it without him. A more apt title might be 'The song they decided to record without Ringo'
This is brilliant !! Such in depth analysis!! According to some sources George & John also added drum parts.
The bass part is one of the things that really makes this song stands out, but to my mind the drum work is really the most powerful contribution to the song. It is unique in the Beatles’ catalogue.
You deserve a TON more views! This is all so nicely presented.
Great conservation !
I can’t wait!!! This is definitely in my top 10 potentially top 5 Beatles songs, one of lennons best guitar riffs and lyrics It just exudes an aura that makes me feel a glimpse of enlightenment every-time I listen to it that no doubt comes from his meditation retreat in India.
This is a wonderful video, crazy it doesn’t have more views. They shall come!!
Perhaps the broadest range of any album.
Brilliant! Probably my favorite White album song. That dropped D tuning is also an old FOLK style tuning..not just Indian. Well done.
There's a theory that Ringo dubs in drums for the crescendo. I can believe it, because the fills that happen at the end have finesse that I have never heard from Paul. He can keep a straight beat and do straight ahead fills, but - take "She Said She Said" or "Baby You're a Rich Man". The fills in there are more in keeping with the ending bars of "Dear Prudence".
OMG, lads! I have been very familiar with the White album since 1968 and have performed Obladi-Oblada hundreds of times as a singer and guitar strummer. It has never ever even crossed my mind that it is a reggae influenced song or I guess more correctly, ska influenced. A quick visit to Wikipedia confirmed that Paul wrote it in ska style and that the silly phrase was stolen from a Nigerian musician. I feel a little better as I read that John changed the feel of the song dramatically with a faster piano introduction making it a "mock music hall" song. That's more like what I've always seen it as...
David, you're supplying a chord change that isn't actually there during the walkdown. On the high E string, you have John playing a G (natural) note in bars 3 and 4, giving a true G/B chord in bar 3 and Gm/Bb chord in bar 4. Now I can't really isolate those notes with my equipment, that is, the notes on the high E string, but that's because there's an electric guitar sounding at precisely the same time, and drowning out the acoustic sound, but just the B and E strings only. And the F#, which you have correctly played in bars 1 and 2, never changes. It never goes up to G. And there's no way that John is playing the changes that you're playing, underneath an electric that's sitting on F#.
So although you do have to change fingers, or at least I do, the D and F# notes that he's playing on the B and E strings are unchanged throughout the walkdown. So bar 3 is a Gmaj7, and bar 4? Your guess is at least as good as mine on how to name that chord. It's the same one that's played in bar 3 except the B natural comes down to Bb. My gods, that is so much harder to explain than it would be to just show you!
I just listened to it again and it's possible that it's not an electric playing over John on those notes. That might just be John. They certainly do not sound like a clean acoustic sound. But you spoke earlier of that chorusing effect, and the rest of his part definitely does not sound unaffected. It's quite possible that the reason that just those two strings / notes ring out so distinctly is not that there's an electric playing over the top, but that however John's guitar sound was being "processed" combined in just that way with the fact that those are the only strings that are not wound. I've never noticed such a pronounced difference between the wound and unwound guitar strings on a recording before. And I never had any reason to examine this any more closely before now; long better I was even playing, I heard those notes being so distinct that I just assumed that it was an additional instrument. But the more I listen, the more I think that's incorrect.
So I'll stand corrected if you, too disagree with my original impression of an electric playing those notes. But that does make my original point all the more inescapable, that he never changes the notes on those two strings throughout all 4 bars of the bass walkdown. I'm hoping this alignment stays intact...
1 4, 1 4, 1 4, 1 4
F# ... D, F# ... D, F# ... D, F# ... D
Check out the instrumental version by Gabor Szabo.
What are the best music books to study and analyse the beatles music, I find most of the books lacking in detail.
Revolution in the Mind goes through every single song. George Martin also wrote a few books with a lot of detail. If you're into the technical aspects of recording there's a 5(I think) book series breaking down every song and what they used in the studio, down to microphones and speakers.
Helter Skelter is not proto- punk. It is pre-metal period. @ 16:25
No discussion of the drums and who played the end section?
They did discuss that, very late in the video, but they did. Ringo had not yet returned, so Paul played the drum part.
I THINK that was the time-out which Ringo wound up spending on Peter Sellers' yacht in the Mediterranean, which in turn gave us Octopus's Garden. I'm not certain of the timing though.
You guys probably know that story already, right? Very briefly, the yacht captain showed Ringo that octopuses retrieve bits and pieces of bling, which they place around their hollows, probably to attract mates. Octopuses are actually among the animals that score the highest on IQ tests, right up there with great apes and corvids (crows, ravens, kites, etc), so maybe they just do it to entertain themselves, Idk.
But he played on 'Dear Prudence' . What are you talking about ?
He didn't refuse to play on this song. He quit the band during this time because of Paul.
One thing I've NEVER understood:
1) The Beatles finish the greatest album in history (Sgt. Pepper) and are one kick-ass cohesive unit.
2) They go to India and experience peace and love and enlightenment (sort of)
3) They return to England to record the White Album and suddenly they're all fighting.
...So what the fuck happened? What am I missing? Any insights??
The drumming sounds too all over the place to be Ringo so it's all Paul. Ringo played more consistent patterns and fills and at a steadier tempo.
Ringo was fully capable of varying the tempo, but he did so more discretely. Even on the White Album, you can hear this on “Back in the USSR” and “Why Don’t We Do It in the Road,” just to cite two examples off the top of my head.
@yehoshuabenavraham9706 He didnt play on Back in the USSR. That was the song which made him quit for a few weeks!
@@Mokkari77lol he proved your original point. Paul likes to improvise on the drums, Ringo is calculated
All over the place? It's very straight, solid drumming and then the overdubbed fills at the end. It's terrifically done.
@sebastianmaharg I'm not saying it's bad, just that Ringo would have played it differently.
Nicely done. Great song. David's demonstration of John's quirky finger-picking was most interesting. There are some pervasive theories that Ringo overdubbed the Ringo-ish drum fills starting at the 2:45 mark on this track. Several videos out there that cover this. For example: ruclips.net/video/ptAmOYIFIx8/видео.htmlsi=D-34LHni9alNhiPW
I never thought much of this song- until I heard Siouxie and the Banshees version 👍
I don't mean to be a PITA. But Mia is pronounced Mee-uh, not Maya.