Certainly the half century of Eleanor Rigby , then the terrific album Revolver that contained it (but also emerged as 45s), it got to do something. It was 5 August 1966. Unlikely that the Orchestra of Tuscany, among the best chamber in Europe, in March put the agonizing, sober, relentless elegy to those persons of all the land between the bis of their octet string , I did not think about the anniversary. It is also true, however, that the Ort has a long, continuous visits of other music, jazz, improvisation and song, illustrated by projects with Richard Galliano, Butch Morris, Bollani, Rava, Sakamoto, Battiato and Heiner Goebbels. The reinterpretation sublime arrangement of George Martin – Bernard Herrmann in style – for only classic in which none of the Beatles sounds, is the first violin Andrea Tacchi. That no voices available, wisely distributed the immortal melody in seven of the eight arches of the double quartet, identical formation of Fab, with purple prominently. Off date the consent of the public. More than one of those regulars of the classic, however, has commented: “Beautiful, but what is it?”. And to think that Leonard Bernstein once saluted the Beatles, and illustrated them (with Dylan, the Stones and many others) via the TV world with its legendary broadcasts, such as genes that were. And that Luciano Berio had a hand in their compositions for giving her the supreme voice of Cathy Berberian, his muse and companion. Indeed, the opportunity comes good to remind a small but very significant episode, which Berio Fab Four makes whole-mindedness, search fever and love for music without hierarchies or genres. London, 24 February 1966. The Beatles are the Beatles already for a while ‘and are going to repeat it with Revolver . Berio is already well established, even as investigator of new electronic horizons, but still it is not the Master performed like a star, it will happen soon, in any concert hall in the world.
when Paul went to class by Berio. from a professor at the prestigious Juilliard School of Music in New York, the composer is in London for a lesson. At the time the Beatles, as told Rubber Soul , 1965 already tinkered endlessly with magnetic tapes, loops, recording speed, and any other means that should seem attractive, when there were inventing. Existing sounds were not enough anymore. How to Berio. In which the audience, as it happens, there’s Paul McCartney, already struck by Stockhausen, who trasecola admiration listening Laborintus II , a work of the year prior to music by Italian composer, “for voices, instruments and tape “on extrapolated texts and edited by his friend of a lifetime Edoardo Sanguineti between Dante verses, Pound, Eliot, from the Bible and its. At the end of the conference, an excited Paul Pierce security for some reason wanted Italian embassy, tearing the teacher a brief contact. That despite the verbal reports of Berio remains unknown contents, but it seems to seal the futuristic McCartney suggestions and associates. While, and perhaps even that is not fortuitous, in ’67 Berio, enlightened pioneer in re-reading of the popular repertoire, arranges, “for” voices and instruments, Ticket To Ride , Michelle and Yesterday .
looking for unheard sounds. Half a century since the birth, the sense of turning, the epochal aesthetic and technological innovations and the recent recovery of Eleanor Rigby by ORT: are several, but not all here, the many good reasons to talk again today that Revolver , 1966. And do mean necessarily bring up even Rubber Soul , 1965. Thesis on the other hand exposed at the time by George Harrison, he called the two ELLEPI, “a volume 1 and volume 2″. Half a century ago in these four months already barons, greeted without regrets the naïveté skiffle and doo woop of Mersey Beat (the Mersey is the river of Liverpool, the word referred to the local school beat), they had already unsheathed in Rubber Soul their insatiable curiosity. Venturing between culture and notes of the East (with sitar, apparently in the hands of George, which debuts in Norvegian Wood and Revolver will return, along with tabla Anil Bhagwat, in Love you to , as in Sgt. Pepper’s ), marijuana and LSD (but the second without Paul, who never will know), the Timothy Leary thought that opened hearts and minds to the stirrings of the nascent psychedelic West Coast. And that, in the Beatles’ version, twinkle winking, gaudy and prophetic in Tomorrow Never Knows that closes Revolver . Without forgetting the “breaking news” the Byrds-style folk rock, revered by the Fab Four as much as Dylan – John and George will defend vigorously the anger of disappointed fans for turning electricity – neither fou love for the rampant soul of Otis Redding and James Brown. Amply evidenced by the Motown Sound by robust brass that Revolver will bring a gift in rousing soul of Got to Get You Into My Life , the future Grammy in Earth version, Wind & amp; Fire. While Revolver , just nominated for best album, instead touched the one for the cover, extraordinary and appropriately innovative mixed media artwork by Klaus Voorman, old friend of the Fab in the first Hamburg heroic times, good artist and musician long course.
the study becomes laboratory. All elements that coalesce in the use, then a Copernican revolution, the study spotted in Rubber Soul and relaunched from Revolver , which gives the modern popular music a substantial boost on the way to the future. The room no longer as mere technical place for recording and mixing, but, thanks to the superb complicity of producer George Martin, an additional tool to exploit. A laboratory to be supplied with ideas and insights to push beyond their limits with strokes of inventions capable of shaping the sound unknown. Moreover, among the first, if not the first, the four approached the use of video clips – in addition to the known “musicals” demented forerunner signed Richard Lester – in quantities already in the mid sixties by brands like Michael Lindsay-Hogg.
Two ELLEPI, a turning point. Rubber Soul and Revolver show an effervescent continuity and intensity of a mature flow of ideas and conscience astounding even today. Which lays the foundations of the infinitely more famous, celebrated and planetariamente media attention, but not exceeding, Sgt. Pepper’s Lonely Heart Club Band . This in a nutshell, the very shareable opinion of the most accredited biographers, musicologists and journalists who are dedicated to the Beatles is far and wide for decades. Moreover, it remains true that, unlike Sgt. Pepper’s , published in June ’67, no special strategy was designed for the pair of aces in question. That counted on the effect only Christmas. Great music did the rest, ie almost everything: Revolver was released in the UK August 5, 1966 and was soon the first 7 of the 34 weeks that remained in the standings; the US appeared three days later, again for the first 6 of the 77 weeks in the charts, certified platinum five times. Despite initial, furious reactions America’s most bigoted who accused him of blasphemy the famous contemporary of John the declaration, according to which the now Beatles “were more popular than Jesus.” And if in 2010, the Osservatore Romano has called Revolver the best of every era pop disc, there really is little to add, except the compliments for the sharpness of the evaluation.
June 1965, through Italy. another decisive reactant of the prodigious alchemy chain, pushing them away from the stage, and increasingly in the study, favored the Revolver , were the tours. Or rather their abandonment. Already since the end of ’65, the four came destroyed in the physical and nerves from exhausting, frequent world tours aim concerts. With attached the whole circus sad with a question that almost never had the slightest idea of how to handle the music, so taking refuge in regular, detestable color obviousness. In those days, even for your superstar of the West, the tour volevan say for example two concerts a day, even for half an hour. Like those of June ’65 in Milan, Genoa and Rome. It was a flop in the boot unprepared for an event that only a few weeks later, on August 15, would be delirious New York, saturating Shea Stadium with 55,600 fans outside himself for the first mega-concert in history. To tell the truth, and the beautiful country, but it must be added that, despite the Po Valley mists of dozens and dozens of aspiring Carneades, rightly remained such, clubs like Piper, a certain proportion of capable record and arrangers, musicians of Tenco value , Battisti-Mogol, Gaber and Whittaker, De André or Piero Ciampi, Lazarev and Dalla, Nino Ferrer, Rokes, l’Equipe, the superlatives Rebels, Guccini and Nomads, Stavan doing wonders to extract it from its provincialism gray, hypocritical and simpleton .
Even at the Budokan were the first. In the rest of the world however, including Japan, where just finished Revolver will be the first, 30 June 1966 , to “desecrate” the Budokan in Tokyo – the future of rock temple, but until their “scandalous” live sacred place tied only to the memory of war victims – the thousands of screaming fans eternally, and the modest live technologies, prevented the Fab Four even to imagine how they were playing. They discovered it, remaining very badly for the modesty of the outcome, just in Italy, thanks to the small amount of audience. That was added to the mass-delusion which translated very often, despite special trains, private plane and legions of police, in heavy hardships, dangers and realistic also fears for his safety. Trauma who regularly repeated, with the crowds that felled bedeviled the safety barriers or blocking the joints of the Fab before, during and after each concert or other public appearance.
Seized by the fans. But it also happened in the most exclusive contexts. A couple of examples. A few days after the Budokan, the boys fly from Tokyo to Manila, where they land July 3, 1966, the final leg of the tour in Germany, Japan and the Philippines. With many a heartache in the soul, as in their hold luggage non-scarce acids. But it is only the prologue. In fact, in the capital awaits them, unbeknownst to them, the little or negotiable request to meet the kids Marcos, the Philippine dictator children infamous and powerful Imelda, one of the collection of 2700 pairs of shoes. Roaches do not want to even talk. And their old manager Brian Epstein takes them perhaps a bit ‘too literally, by informing the authorities that no one had been notified of the request and that, in fact, did not even speak. Result: a few hours after the first concert, that of the 16, the police actually sequesters frightened Beatles to lead them to the meeting. Different but equal, the siege of the villa rented by Epstein in Benedict Canyon Drive, Beverly Hills, at the end of August ’65, for six days off during a US tour. Surrounded by fans, who even hired a helicopter to spy on them, the Beatles surrendered. This time, happily, not being able to get out, despite the large police forces to protect them, they invited their friends to a long LSD party. Among others, the Byrds, Joan Baez and a young enthusiastic, little-known Peter Fonda. Whose insistence on the theme of death, from an episode of his childhood, caused friction with other strong acid, as long as Lennon ordered him to shut up and stand back. Of that controversial episode was born She Said She Said , after nine hours of non-stop rehearsals and recordings 21 June 1966. The last working day of Revolver , which McCartney left without playing his bass part, for one of the first quarrels that soon would have paved the fast lane towards the end of the group.
Back to Abbey Road. it would back ever again, even under torture, as Lennon said, to play in public. For Revolver , the kids, beautiful even cooked soul, had therefore evaluated, sending Epstein in the US, the chance to make it in the temples of the new black: Stax in Memphis in the first place, B plans to Motown Detroit or the Atlantic to New York. They all came to nothing and the Fab returned to Abbey Road EMI in the shed. Eight months from Rubber Soul , considering publications: December 3, 1965 the latter, August 5, 1966 Revoler , sixth and seventh long playing of “zazzeruti” as they called them the very original Italian newspapers. They had never been so long without to release an album. To get on top of the second act – and final – of their leap into the future, we will put, another element detector and unprecedented, even three months, from April 6 to June 21, and three hundred hours of work. Taking out, already there were even a couple of 45s most sensational ever. As well as additional test benches of the seductive sound researches. The A side of the first black pearl Paperback Writer , never out of Lp and republished only in a couple of collections; on the other side Rain , often called the “best side” of the Beatles, a dancing slow time with spices from the East, also appeared later on only anthologies, which is born from wants torrential rain that greeted the group in Melbourne. While the second 45 had, in fact, the two sides A, and such! The eternal Eleanor Rigby and the cheerful march-nonsense Children Yellow Submarine , donated, as happened several times, Paul (and John) to the compressed baritone timbre no instead of Ringo. Engraved with “a little help from friends” Brian Jones, Marianne Faithfull, Martin, Epstein and exposures roadie Neill Aspinall and Mal Jones on backing vocals and percussion to every possible and impossible. To give the song the ramshackle nautical atmosphere that then will suggest the surreal cartoon namesake of ’68. Like the Beach Boys admired rivals capital Pet Sounds , the study for the Beatles is now undeniable added value and main place of creation, risks, joys and sorrows included.
Sir George, the genius of the fifth Beatle. Their discoverer, mentor, friend and producer miracle-mad scientist, as well as arranger, conductor and pianist beautiful classical training and shamanic sense for the contemporary, Martin, as his charges, but later, Sir done for artistic merit, comes often called the “fifth Beatle.” John on the other hand, because of his natural elegance, was renamed the man plus exquisite, balanced and beautiful, “the Duke of Edinburgh.” Nothing more true, in both cases. Even more than ever for Revolver , and for the individual mentioned period, Martin, who also precious writings bealtesiani (the irreplaceable All You Need Is Ears , on all), favors for his part the proverbial hungry boys for sounds ever heard. An example for all. For that milestone of psychedelia that is Tomorrow Never Knows – A new daughter of the acids and, in addition, the “Tibetan Book of the Dead”, millennial guide to the departed fulfilled all the formalities due to appear properly to the underworld deities – Lennon, who has composed, he asks the sound engineers that his voice sounds “like the Dalai Lama singing from the top of a mountain.” Was another of the thousand inventions of those days: the technical him seeped through Leslie, the rotating head speaker until then used only for the Hammond organ, and John was that he tried. Which ended up embedded in spectoriano caleidocopio of creatogli sounds around loop fury that the Beatles were at home, compressors, belts in reverse, echo, overdubs exponential, mellotron, filters, drones (or drones: long bunches of notes with microvariations harmonics) sitar and tampura and much more. In addition to the sublime work with strings started with Revolver and culminated in Sgt. Pepper’s , Martin bet on a sound engineer just twenty years old, Geoff Emerick, called in place of veteran Norman Smith, with the Beatles from first technical to Rubber Soul , that EMI promoted producer. It is repaid with interest. Emerick and fellow resident of Abbey Road, Ken Townsend, pull off the miraculous cylinder of that working group an endless series of prodigious rabbits, destined to change forever and for all the work in the study of modern popular music. That that magician Ken Scott (then with the beginning of Bowie, Van der Graaf, Elton John, Mahavishnu Orchestra, Supertramp, Devo, Lou Reed), former assistant sound engineer from For Sale Help ! , jumping to pro Emerick Revolver and Sgt. Pepper’s , will develop as a starter in Magical Mystery Tour and White Album .
And the sound of rock was no longer the same. the beauty of Revolver does not let anything leak complexity of the work that he produced. In the Hall of Abbey Road, however, are in the world means nothing short of futuristic. Starting with the fundamental ADT (Automatic Double Tracking, which thanks to the advent of the four tracks, could greatly multiply overdubs), to continue with backmasking, played parts to be recorded backwards, then overdubbed to be heard in front; the varispeeding, ie played tapes and mixed at different speeds and offset; the intensive use of loops and compressors. Again the voice of John Leslie, the rotating head amplifier in use since there just for the Hammond organ, comes with an unimaginable vibrato; recordings via microphone amplifiers instead of via-mixer, with which the new low Rickenbacker, Paul preferred to the old Hofner, acquires muscle and presence unthinkable; the clothes put into the bass drum Ringo to add the final sound, and microphones placed a few centimeters from the skins of the other elements of its battery, to help her until then unknown substance. It is a veritable cornucopia of ideas that bring great crafts, skills and imagination in the service of a visionary aesthetic, instinct, creativity and a sense of risk in perpetual boil. Giving to the Revolver , and individuals of the period, depth of field, timbres, dynamics and physicality unheard. The instruments are now only a basis on which to graft the Beatles consciousness expansions, that alchemy of the study are finally able to indulge symbiotically (or almost).
“Without ideas technology it’s nothing”. Martin, which began when he was registered on the roll of wax and the ascent began with a razor, he repeated all his life that the technologies, which has been for sixty years late explorer, if you are not at the service of ideas not they are nothing. And indeed end up “inhibit creativity and thought.” Of this program no time, Revolver is the cornerstone. Sure, the Beatles were wonderful, intuitive masters who never stopped studying: melodisti superb as Paul, spirited and imaginative radicals like John, delicate, brilliant inventors such as George shy, irresistible humorists like Ringo, gaffeur verbal caliber trapattoniana. But it was – whether we are talking too little – their irrepressible desire to always go beyond the existing, being the best determination, to push them to the heavenly finis terrae which led the modern popular music. In which, rarely the result was so much more than the sum of the parts.
New music, new stories. Changed forever the instruments and sounds skin Revolver shows them the dizzying growth and ultimately also took place in the compositions and lyrics. It redefines the percentages of authorship between Lennon and McCartney in favor of the latter, as they climb the George actions by 2 tracks of Rubber Soul passes to 3 Revolver . Although it is an impossible task to have certainties on the dynamics of such a creative collective fact, complex and prolific. In the 14 pieces of the disc stir much new structures, themes and atmospheres as inevitably linked to the turn of 3 Abbey Road studio. In writing emerge insistently modal scales – almost certainly introduced by cultured Martin – George Russell, Miles, Gil Evans and John Coltrane were introduced in the most advanced jazz from mid fifties. Sprouting here and there, little known but significant Novecento passions: musique concrete of Pousseur, the barbarous times of Stravinski, quotes from Sibelius, Stockhausen, Berio and electronics. Similarly changes of pace, almost heresy to pop then, are imposed along the same track, and for the most part of them. Along with sounds to say, the Beatles also seek stories and words to say, often extracted from their intense lysergic experiences. And chase the ultimate threshold of so much eternal poetry between waking and dreaming, the right to withdraw to go far away, which dissolves in the proverbial laziness lennoniana of I’m Only Sleeping . The desire to live a present conscious and deep instead appears wrapped in sweet melody-harmony of Here, There and Everywhere . With the hand of Martin, introduce French horn of the future Berlin Philharmonic Alan Civil, and confirm the formidable string that the manufacturer had already tested in Yesterday – and that in other hands will prove much rather troublesome for destinies pop. Up to the challenge then inviolable taboo for “songs”: death, loneliness, despair. Because that’s what they do the texts of Eleanor Rigby , She Said She Said , which also appears a revolutionary reflection of fear and inadequacy, until the excruciating, though detached – the narrative is in the third person – chronicle of the end of a love in the beautiful for no one . While the unsuspecting George takes it bluntly with the tax authorities and the British policy, made with slices of Taxman , you throw sex in a go go Love You To , and seeks redemption from its difficulty to say things with words by writing I Want to tell You . Here and there some sunshine loosens the gloom of the disk: the solar Good Day Sunshine , the soundtrack to a heart in love with fresh, light weight of And Your Bird Can Sing , the ironic, scathing fast time of Dr. Robert , referring to a real or perceived New York doctor who treated his patients-rich star blows of amphetamine “hidden” in the vitamin B-12. Nothing is really like before. Between cold and hot wars, struggles for civil rights and against racism, the birth of the counterculture, the attack more or less front to the corrupt power and violent, in those years the world was changing quickly, and for the worse. Music, cinema, literature and the visual arts had responded quickly: just look at any synoptic history of the time to stay open-mouthed. The Beatles, now mature, they made us quickly deal. Although the policy will never enter directly into their texts, it will be their private, not always so gay as it wants the Vulgate, to create a whole new story. In which the extreme fragility of contemporary man than enough to understand what was happening.
Indian Postilla. In conjunction with the fabulous Kinks Ray Davies (ragas See My Friends , July 1965) and followed for six months or even by Stones Brian Jones employees ( Paint it, black , May 1966), also the Fab look to the East. And with Norvegian Wood the Fab admit short ( Rubber Soul ) the sitar, a symbol of one of their most intense, fruitful and recent passions. India. That would have accompanied them in a long human journey is also important. But that was not even born in the universally communicated collective shipment of February ’68, for an advanced course in advanced transcendental meditation with the guru Maharishi Mahesh Yogi in the north of the country. Why India The Beatles, through tender George, if the view were serving at home and at least three years before. In Fitzlayan Road, suburb of Finchley, North London. Where an intellectual, journalist and militant Trotskyite arrived from Bombay, Ayana Angadi and the painter-writer wife Patricia Fell-Clarke, live and founded, in 1946, a year before independence from the British Empire, the Asian Music Circle. With a purpose: to reinforce among the many Indian capital ties with their culture, promote, including yoga, the spread between Westerners. Music and dance are the master, the AMC makes debut in Europe the most renowned virtuosos of classical Indian, so that in the mid 60′s knows this part of the planet a resounding boom Wylaiat Khan, Ali Akbar Khan and Ravi Shankar, who in a short become a star even the best pop, collaborating as well with the ladies of free jazz Ornette Coleman in Chappaqua Suite .
For a string of the sitar . While London apparently hit by an authentic fever for culture, food, theater, dance and clothing of the subcontinent, the ACM, which is partly responsible, reaches such prestige in a hurry to have, in 1953, devoted to President and brisk worldwide ambassador Yehudi Menuhin, one of the greatest violinists of the ’900, and Benjamin Britten, among the greatest composers of all time, as deputy. The association becomes, thanks to the many Indian musicians who attend, also a reference point for learning to play the sitar, tabla, sarod, esraj, swarmandal or tampura. The usual indispensable George Martin knew the AMC from early 60′s, having used some players for a Peter Sellers disc, the wonderful actor and future Hercule Poirot, published by Parlophone, whose owner EMI started immediately after a collaboration with Angadi for music advice. When, in October 1965, the Beatles are registered Norwegian Wood George is the first weapons with the sitar, which breaks down a rope. To get the parts, Martin suggests calling Angadi, which looks at Abbey Road with rope, his wife and children. That they are paid off being able to witness the historic engraving. established contact: George soon became a regular at Angadi home and AMC, where he studied the sitar. And when during the process of Revolver shell, 11 to 13 April 1966 forward to Love To You is quell’eletta terraced finding the sounds you are looking for. They will be different ACM to participate, among them Anil Bhagwat, the song that lends its tabla and receive the unusual privilege of being credited on the cover. Which, of course, the Beatles have almost never done with the “foreigners.” Little more than a month later, June 1, the Harrison model student will have the great opportunity to meet Ravi Shankar, England for concerts. At home Angadi, of course, where was organized a dinner in his honor, George asks, fulfilled, to become his student. In return for a further consecration at the Western audience, this time that endless pop. The link with the Beatle Angadi breaks, for reasons never clarified to the end, at the end of ’66. The same period, in November, where John met Yoko Ono for the opening of an exhibition at Indica Gallery lively, moreover supported by Paul, who quite voracious literature made it the place of his initiation into the underground culture. Within a few months, George, that while not crediting them, take back the musicians ACM for Within You, Without You ( Sgt. Pepper’s ), has now found a way for its India. And having been ahead of the other Fab a good bit ‘, will continue to follow it to the end in music and in life.
Read more. The Beatles bibliography is obviously endless, especially the English. But the ancient and wise attentions of Franco Zanetti, our best scholar on Fab, and Riccardo Bertoncelli, excellent scholar but also an inventor and director of Bizarre necklace for joints, they have crossed the best in Italian. Primarily the beautiful The big story of the Beatles Marc Lewisohn, fundamental research and cornucopia of priceless images; beside Revolution in the Head Ian MacDonald, colossal reconstruction of the history of the four song by song, in his time translated by Mondadori (1994) by Zanetti. Which in 2015 has faced in really extreme solitary with that company The Beatles’ White Paper (Giunti).
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