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Saturday, November 10, 2018

Enjoy Chapter 1 From My Novel, Beatlemaniac – a preview.


                                                                      Chapter 1





December 8, 1989

Oahu, Hawaii.

Alone near the dinner table, Yulie cringed and held her breath when the ragged screen door banged against its weather-beaten split wood frame. In silent gloom, her child, Davy, stared into the plate of last night’s canned tuna over rice. For nine long years, this of all days resurrected the worst upheaval forced on a living soul. And now, her youngster suffered horrible nightmares alongside five anguish anniversaries of his disgusting bloodline. He agonized over terrible dreams of people ripping out his father’s heart with razor-sharp fingers, and then turning on the lad, chasing him, yelling, “Kill the son.” Yulie tried consoling her little boy, saying his dreams were make-believe and only silly nonsense. However, each year the dreams grew bloodier, forever haunting his mind, and severely changed the way he developed. He always asked his mother what would people really do to him if they actually found out who his father was. “They will do nothing,” she assured him, “except feel sorry for you.”

     Davy’s disappointed gaze on the hot-scooped serving shifted toward Yulie, but only in pity, and returned to the unappetizing goop. His tightened, crumpled lips spoke louder than their defeated manner and reached her same conclusion. Both hated leftovers, but money problems long ago kept them from enjoying more.

     She tried to fake a smile. “Remember, Davy, your father cherished the Beatles as we do.”

     His piercing eyes lifted fast from the plate, bolted onto hers colder than Iceland, but all the same burned the woman’s flesh like scorching steam. “No. As grandma says, I wish Father never existed. I wish you’d married a Beatle. Father didn’t cherish the Beatles, I love the Beatles. I hate Father.” The boy dragged out his table chair with a rough jerk but refused to sit. “I’m glad he never saw me, Mom, and I never want to see him or his grave.”

     “You’re upset at today, not at Father.”

     “No. Everything wrong comes from Father.” He scooted his chair back in place and softened his tone. “I’m not hungry. I’ll wait till breakfast.”

     “Expect to fix yourself a bowl of cold cereal. I’ll use tonight’s dinner and make you a plump tuna with rice sandwich stored in the fridge for lunch. I have an early shift tomorrow and can’t upset Ms. Yoshida clocking in late.”

     “You shouldn’t let that rotten woman treat you like she does. It’s evil.”

     “I’m sorry you saw that, but try to overlook her faults; I do.”     

     “Good night, Mom.”

                                __________________________

4 Years Later, December 9, 1993.

County Courthouse conference room, Oahu, Hawaii.

“Please have a seat Mrs. Chapman; I appreciate you taking time from your employment,” said the young doctor.

      Her spine stiffened, upper teeth bit hard against her lower lip and like a shot, both arms folded tight under her breasts. “Davy’s father is Mr. Chapman, but I’m Ms. Tanaka, Yulie Tanaka.”  

  “Oh, my mistake; I apologize, Ms. Tanaka.” He waited for her to settle into the chair. “Mr. Lundy, our juvenile corrections director, called me in last night to begin behavior counseling for your 13-year-old son, Davy.” Her chin tilted south, forcing her eyes to stare at the ground, which threw an uneasy mood into the room. “Before meeting the boy, I read through the officer’s incident report, as a head start to find a method best suitable.” His pause lasted longer than customary.

     She raised her head. “And?”

     “His conduct showed severe bi-polar characteristics, but after hours of psychoanalysis, I can vouch that his hate stems from an abandonment disorder.”

     In shame, the meek woman accepted a facial tissue. “Yes, Doctor, Mr. Chapman left a solitary shadow of shame hanging over me and uprooted a rocky wham-bam-thank-you-ma’am romance. He deserted us during the fourth month of my pregnancy, and the denial of Davy by his father has multiplied fits of anger streaks to our son.”

     “Ms. Yoshida’s screams saved her bodily harm from the silver hammer Davy possessed during their heated conflict. Your boy’s public defender seeks a reduced six-month sentence, but I urge you to reconsider. The needed therapy for personal happiness may succeed if we’re given a full year and can rehabilitate his hostility. My staff and I will uncover any clinical disarray and redirect delicate emotions from his negative thoughts wedged inside his head. Moreover, the process comes free.”

     “That’s next to all I can afford, free, but must he live here for a whole year? Davy hasn’t slept in another bed besides his own until last night.”

     “He must, or our no-cost treatment disappears, Ms. Tanaka.”

     She rose to her feet while the mangled tissue again wiped her dampen eyes. “I understand.”

     “Good. I’ll make Davy’s arrangements with the public defender this afternoon. Don’t look so worried; this is a positive thing, and we welcome your visits from two to five p.m. Come release time, you will see young Davy well-grounded and able to serve society as opposed to engaging in violent criminal activity.”    

     “Thank you, Doctor, for looking after him.”

                              __________________________    



18 Years Later, Late March 2011.

Los Angeles County

To commemorate three decades of service to the Main Headquarters Library in Ash Lyn, California, appointed as CEO to the entire seven branches and three bookmobiles 20 years ago, Freda Kelly was ready to clean out her desk and call it quits.   

     50-years old, she seldom strayed from any goal, short or long, and looked forward to her $2,000 per month pension. With over $3,450,000 in reserves, she was ready to ignite her new dream.

     Fewer than five weeks and the garage sale will include my awful alarm clock, she told herself, and when the house sells, I’ll launch my patented reading program in Central America. Ten months ago, Panama’s Department of Education had learned that Freda’s new course, Getting Better - A Child’s Right to Read, could offer the equivalent of a day-by-day confidence booster shot to any child four through fourteen. For the last two years, not a week went by without her e-mail account filling with hundreds of testimonial triumphs from pre-school, elementary, and middle-school staff who admired her teachable recipe. Each message brought complete fulfillment. How these educators located her e-mail, though, remained unclear. Last August, Panama made a perfect offer suited for her career. Small group lessons from border to border, conducted Tuesdays through Thursdays, and when travel exceeded 100 miles from her new residence, the department would provide an automobile, lodging, and meals.        

      Unmarried, although several men pursued her, Freda decided in high school to serve others rather than devote her best to a husband with baggage, or to juggle a selfish family who resents giving away her time. Her success as campaign manager to elect Mayor Dave Chapman soared into shape as if a cakewalk compared to the four long years designing, planning, and editing her smart software curriculum. Since the program’s debut, the educated tool became a Godsend to teachers and a gold mine to its author.

     A home in Panama presented no problems for her thriving DVD business. Freda’s Getting Better web page directed all inquiries and product purchase dealings through a major manufacturer in Bombay, India prior to its one-year anniversary in 2010.   

     The ring from the phone broke her pleasant-life-abroad daydream, but Freda, conscious of being on duty, assisted the caller. “Ash Lyn Main Library, Freda speaking.”

     “Hello, Freda, I applaud and salute your 30 unsurpassed performance years to the city. Deeds proficient by few saved those you inspire to follow your example in leadership skills, for our future.”

     Unsure who this caller with a hinted Asian accent was, she said, “Why, thank you.”

     “I understand you reach discomfort with idle small talk, so let me disclose the reason for my call. I need to verify you received the $100,000 grant prearranged by the American Library Association in Chicago.”

     In all her years collecting donated funds from different reliable authority, never had a soul requested a verbal record. “We received the deposit Monday. Is anything wrong?”

     “Not at all; I wanted to authenticate its actual arrival and appearance.”

     Freda was baffled. “Authenticate its actual arrival and appearance? Who are you?”

     “Call me Pang.” 

     “Please forgive me, Mr. Pang, but I . . .”

     “Not Mr. Pang,” he interrupted her. “Just Pang.”

     “Alright, Pang, as I said the money is safe, and I have confirmed it, so if nothing else?” 

     “One important item, if you please. I necessitate the account number and its password that secure the main branch grant fund.”

     She channeled a defensive attitude. “I beg your pardon?” 

     “You heard me. Unless you cooperate, disturbed consequences will follow, so I suggest you conform.”

     A quartet of townspeople formed a line for service near the checkout desk, and each shouldered at least six books. “I’ve got a few patrons near the counter,” she said. “I’ll take your call in my quarters.”

     Pang agreed.

     After entering her office, she slammed the door with an inflamed temper and clenched her jaw. “Now, Mr. Pang, I mean Pang, why must you make such a doubtful demand?” 

     “You ask a fair question, indeed, justifiable of an immediate, precise answer. I alone shall remove either 20% from the grant fund balance under your care or 100% of the currency from your personal savings sheltered by Wells Fargo. You have 10 seconds to render its password and 20 seconds to divulge its account number, or say goodbye to three and a half million dollars and the cash flow it supplies for your abundant fortunes in India.”

     “Now look here, you son of a bitch . . .”

     “It appears you affirmed which account to defile. In my opinion, an unwise choice, but you are young and in another fourteen years earning wages with your current employer, money lost today will build back.

Regrettable that you still must sell your home, because how will you subsidize the expenses Bombay requires each week? At least, any apartment community should welcome you based on superb references, plus the library’s gratitude you’re staying on must feel nice.”

     “Why trounce on me, and how did you uncover my personal livelihood?”           

     “I’m privileged to have known just a little extra. Farewell, Freda.”    

     “No, wait,” she said, but Pang’s phone disconnected.

     In a rush, she logged her PC to the internet, and from her favorites list, double-clicked the Wells Fargo Bank website. Her heart pounded as the screen loaded its sign-in page. Afterward, she typed her username, password, and clicked go.

                                ____________________________



Finished with a morning customer, the strange noise beyond Freda’s closed door startled Cilla from her chair. Looking toward the sound, and to the other side, no one else showed concern. Cilla White, assistant director, moved up the promotion ladder quickly and was tickled pink to work alongside Freda.

     Not wanting to appear too inquisitive, Cilla fixed her gaze on the door, hopeful her boss would exit with a humorous reason. Minutes had gone by but not another sound. “I know,” said Cilla, “I’ll phone and remind her the Friends of the Library gratitude luncheon begins this Saturday.” She dialed Freda’s extension and listened to the rings in the next room. Bewildered at hearing the line ring after ring and no pick-up, she approached the door and knocked. Still silence. She entered slowly, calling Freda’s name, but saw Freda drooped face down, motionless, gun in hand and a bullet wound to her temple. Cilla screamed for help, and others rushed to the gruesome scene.

     A male volunteer commanded, “No one touch a thing and leave the room. Let the police handle this.”

    All Cilla could say was, “Why.” Freda’s PC monitor had darkened, and the screensaver had seconds until it rid the vital clue needed to solve the atrocious act. Just a slight nudge of the mouse might have told detectives the answer to Cilla’s question, but no. The screensaver gave up its exposure. If anyone was to revive the image now, first, her password required consent acceptance, and the monitor could reproduce what devastated Freda to take her life by the consequent display:  Wells Fargo account number 909-17-642: Transfer $3,459,783.44 to Ping Gou You Han Gung Ci Bank of Hong Kong. Transaction completed and accepted today at 10:41 a.m. local time. New Balance: 00.00

                                    ________________________                         

        

Inside a five-star hotel room, within an easy stroll from Ping Gou You Han Gung Ci Bank, the flawless apparatus plugged into Pang’s computer worked impeccable. Its inventor, Mr. Lee Wang Hue, guaranteed all along that his unique prototype device would pass the test miles beyond Pang’s belief. These units read computer language in English then transposed it to Mandarin, Min, or Hakka Chinese, and with great success. By sheer coincidence, to make banking easier for his grandfather’s sour memory, Hue learned of its incredible ability to expose necessary passwords when fed correct figures in an easy-to-follow order.

     “Now remember, Pang, if you fail to send my creation the exact last deposit amount, the password shall remain hidden. Each attempt requires dollars and cents, so stay alert your records furnish full discovery.”

     “Yes, Mr. Hue, my stats provide everything I need to make your creation and myself content. Please tell me once again the mandatory steps to success.”

     “Sure. First, you bring up the bank account website. Click username and type in the account number plus dot Q-dot number one, and hit enter.” Pang took immaculate notes as Hue paused. “The device will enter whichever code name used by this account number and perform a cut and paste-like command. Next, click password and type in the last deposit dollar amount plus dot Q-dot number two and again, hit the enter key.”

     Pang raised a hand in an apologetic gesture to wait a moment, and after scripting notes, said, “Thank you, please continue, Mr. Hue.”

     “The device will formulate the last deposit as authorized proof to access the account, and again, a cut and paste will fill in the routine password. The secret word continues undisclosed to the eye, but you are ready to withdraw from any checking or savings associated with the account holder. If password observance turns crucial for any reason, highlight the coded password, press the Alt key, and hit number 9 plus F9 together.”

     “What happens, Mr. Hue?”

     “My effective little charmer shall rewrite the code to English like it rewrites English to Chinese. Nothing hit or miss. If the user’s password has certain caps, they will show. If the user likes the number three for the letter E or the dollar sign for the letter S, they too will show.”

     Pang lifted himself from the leather chair and extended his hand toward Hue. “Mr. Hue, I accept our deal. Here are your contacts in Bombay. The Getting Better reading programs include three DVD packages, pre-school, elementary school, and middle school. The pitch for how you negotiate distribution rests in your hands. If you can enlarge your territory sales beyond China, you have my blessing. As I mentioned, the product has pretty much topped sales in North America, so no doubt you will advance an instant hero to India’s economics, and China’s education system. With your invented English to Chinese translator, you gain chance selling your proprietary product plus a reading DVD to every school in your country.”

     Hue examined the contact names for Bombay. “Our agreement pleases me, and I look upon you as my family. Although, forgive me, your face doesn’t appear to have traditional Chinese features.”

     “My mother was an Asian from Japan, but my father was Caucasian. Nevertheless, I also welcome you like family. Let’s celebrate with a traditional Geisha House meal. Rumors from Special Administrative Region predict they could be going in and out of style, therefore tomorrow might be too late. I must return to Beijing come the dawn.”

                                 _____________________________



THREE MONTHS LATER

Wednesday morning, minutes after five o’clock as the day began, United’s commercial jet engines finished their rotated spin parked at the LAX gate ramp. Tall, dark, and more handsome than most movie stars, 27-year-old Mr. Heath Wilson unlatched the overhead compartment and replaced the official documents, which robbed him of slumber aboard the outbound red eye flight from the nation’s capital. Even with little sleep, his prominent good looks suffered modest penalty. A smidgen of strain darted from his dark blue pupils, taking on a busy overworked proofreader appearance. But his five o’clock shadow, darkened by 12 hours of overtime, paid magnetic tribute to the firm masculine chin anchored below lips women dream to experience. The man’s abilities to perk up the opposite sex faster than a blood bank can change a vampire’s eyeteeth into fangs didn’t register a clue inside his own wits. He had suffered from self-confidence around girls during his final years in high school, and ever since, had preferred to let his work assignments drive and embrace every part of his passion.   

     Unbothered by the occasional bump from other passengers as they squeezed by, he took his time and assured each folder returned in episode order, convinced a precedent of sorts begged for the spotlight.

     With the double-locked briefcase secured in his hand, he reached for his carry-on luggage. Light travel made leaving the jet easy, and he proceeded toward the exit equipped to dismantle the horrified misfortunes plaguing this 99,000-count resident community.

     “Thank you for flying with us, Mr. Wilson,” said the airline’s angelic blonde-haired woman with hazel-gray Sophia Loren eyes, but much more beautiful.

     Reverence splashed across his face. “I should thank you for your concern, Tiffany, but if I fell asleep as you suggested, my eyes would have missed the enrichment of your loveliness.”

    Undenied loveliness surrounded this gorgeous Germanic, Anglo-Saxon goddess, built with an ideal figure, which curved in all the right places. Her luminous hair, falling just past the mid-length of her back, outweighed the look and feel of silk, and long sinuous strands framed her delicate face as if God knew He had outdone Himself in creating His genuine and utmost masterpiece.

     Her face flushed, self-conscious by Wilson’s tribute, and sensitive to the fact that the pilot heard his eulogized comment, she did nothing but smile. A smile both Wilson and the pilot relished.

     Intrigued by the minor tension and reluctant to yield, Wilson let fly, “I should have complimented you hours ago. When you blush, you become twice as beautiful.”

     “Yes, she does,” interrupted the pilot.

     Embarrassed, she mouthed the words thank you three times and held onto his left hand moving the last few steps to the outlet, where she continued her farewells until finished with the other passengers.

     Because the local car rental choices remained closed another two hours, Wilson studied the hotel panel lined with guest phones who promised shuttle service 24/7. Puzzled by which lodge operated near City Hall, he prepared to dial the long hospitality list and wondered how he’d remember the ideal place after his basic questions, such as rates, parking, room service, and any other upgraded perks.

     “Need a good advocate, Mr. Wilson? I’ve lived in Ash Lyn my whole life.”

     Pleased to see the beautiful angel, he perked right up and concealed his fatigue. “I’m in your hands, Tiff, but I have necessities.” 

     “Necessities like single, blonde, and hazel eyes?” 

     “I’m ah, speaking hotel features.”

     “I knew it,” Tiff said. “I’m testing the waters, and you passed.”

     “Passed?” 

     “You know. Curious if you’re the kiss-and-tell or the look-but-don’t- touch type.”

     He fumbled with his loosened tie to align it straighter. “I like to credit myself as the respectful type.”

     “How impressive.”

     “As impressive as the pilot?”

     “The flight captain?” she said, amused. “He failed.”

     “How so?” 

     “Let’s just say he kisses and tells and is the can’t-keep-his-hands-to- himself type. But enough of him, how about a place to stay I offered earlier?” 

     “Okay, I trust you.”

     “Excellent, explain your necessities.”

     With a hand placed near his chin, he responded, “I’d like something close to City Hall and secure parking for a rental. If the hotel has good food with room service, I’m indebted. Free high-speed internet and cable TV will help rebuff my all-work-and-no-play syndrome. And any rather particular features you believe will improve my stay.”

     “Is that a come on, Mr. Wilson?”

     “Please call me Heath.” His foot inched a step toward her. “A come on, never. I invite you to suggest anything I’ve missed.”

     “I know just the place, Heath. I can drive you.”

     “I don’t want to impose?”  

     “Quit with the guilt trip. Besides, I hoped we could get closer acquainted.”

    “Me too,” he said without a beat, surprising himself.

     Burrowed tight inside her car, with his seat belt locked in place, Wilson thrashed about to free his wallet. Tiffany watched the comical antic and within her chuckle, he held up his billfold. “Victory at last.”

     “What gives, if you don’t mind me asking?”

     “At least let me pay your parking.”

     “The airport permits airline employees to park free, goofy. Why can’t you accept it?”    

     “Accept what?” 

     “I’m a cheap date.” Laughter spewed from both and lightened their jitters. “So, Heath, what line of work do you do?” 

     “If I tell you, I have to kill you.”

     “Oh, confidential government top-secret type stuff?” 

     “I wish. Try confidential mortified top-secret type stuff.”

     She gave him a double take. “Oh, now you really have me curious, even if it means my doom.”

     “All right, but you asked for it. I research reporting news for Lacey Grief.”

     “Ugh, I can’t stand her.”

     “Get in line. But she pays well, and I travel a lot, so I spend little time in her presence, thank God.”

     “How do you put up with a few minutes in her presence? She acts like such a know-it-all, and so rude. Interrupts her guests left and right, and lordy, how she goes off to make them look stupid when she’s the one who comes across like THE DUMB BLONDE. Ding, hello . . . does that ring a bell for ya, Lacey Grief?” 

     “Whoa, calm down, Tiff. Don’t break a blood vessel over that witch spelled with a b.”   

     “I hate people who put themselves on higher pedestals.”

     “If Lacey didn’t, who else would? She confesses her biggest fan is her father.”

     Tiff raised her eyebrows. “Yes, a child only a parent could love.”

     “Let me share a funny incident that happened at the studio not so long ago. Maybe you will enjoy this sweet revenge tidbit against Mrs. Know-It-All.”

     “Do tell.”

     “Lacey, in the middle of invited input from her expert panel, wretched a losing battle with those who disagreed with her and cowered behind those who supported her stand. A caller enters announced because Lacey can’t turn the heated feud in her favor, and the viewer says how much he enjoys the show and never misses her program. She thanks him for his allegiance and says, ‘What’s your question, dear?’ Then the caller asked, ‘How much do you pay your guests for all the grief you put them through? I’m sure plenty, because 99% of the questions from callers who watch your show are passed to them. Your producer must live high on the hog to justify enormous sums for them to bail you out since you don’t feel confident to answer. I also notice you don’t listen, asking dumb questions by the score already verified for you and us during your show. I mean, come on, Lacey; please stop your boring questions we viewers can answer.’”

     “Oh, wow, I wish I could have seen that particular program,” said Tiff.

     “Sorry to say, I’m sure none of the TV audience saw it. Live television regulates a mandatory 10-second delay just in case someone live decides to mess with the standards and practices behavior code. A perfect example is Janet Jackson’s wardrobe mishap at Super Bowl XXXVIII in 2004.”

     “I remember.”

     “Anyway, the entire staff, Lacey’s guests, and many sister affiliates witnessed freak-out drama with Lacey Grief as the star. The incident happened so fast, shock turned to hysterics, impossible to control. Everyone crowed, and the e-mails from other associate stations jabbed just as hilarious. The program director had no choice but to cut to commercial and plead for everyone’s self-control, however, before reset from the sponsored break, our Camera 3 Operator zooms in on Lacey’s face, and from the video booth a voice echoes through the entire studio with these words. ‘Lacey, please grab a tissue; we see a long, unattractive booger making a floppy nuisance every time you exhale.’ Well, this even caused the program director to lose it. People fell to the floor in stitches they were laughing so hard.”

     Tiff sputtered giggles. “Please, don’t stop, tell me the rest.” 

     “The video booth ran another commercial because no way her live segment participants could maintain composure, let alone function without bobbled heads, shaken shoulders, and nose snorts.”

     “What about the famous pledge, the show must go on?” she asked.  

     “Oh, the show went on, but the executive producer gave the video manager orders to use a prior tape with similar subject content. I doubt viewers could tell the difference. Lacey took a few vacation days to repair confidence, and by the time she returned, common decency from the staff had closed the matter. But it’s a fun story to tell anyone who dislikes her.”

     “I agree. What reporting news brings you to Ash Lyn?” 

     Wilson hesitated. “You’re no doubt aware city workers received provoked threats by e-mail, correct?” 

     “Yeah, but isn’t that all they are, threats from dissatisfied residents about the cost of living? At least the local newscasts interpret them as such.”              

     “Yes, but to paraphrase Lacey, threats with or without action may lead to powerful TV ratings, pumped up with her exaggerated bylines, of course.”

     “I don’t believe her, Mr. Research Reporter, but remind me to send a thank you note for assigning you to my neighborhood.”

     He half-jokingly added, “You write it, and we both sign it.”

     Wilson noticed Tiff’s car decelerate as she announced, “Last stop, City Hall, two blocks safe and sound. Underground guest parking with security personnel, and a yummy superior hotel restaurant. Last but not least, cable TV includes free movie channels and high-speed internet.”

     Wilson clapped in approval. “I’d give you a standing ovation if I were a midget.”

     “If you were a midget, I’d be home by now.”

     “You wouldn’t go out of your way for a little person?”

     “Not true,” she answered, “who put those silly things in your head? If you were a little person, I’d still recommend this first-rate lodge, even escort you for transport.”

     “Then how would you be home by now?”

    “You’d be inside the hotel’s courtesy van.” She flashed her passenger an enormous wink.

     Wilson shifted, reached for his baggage, and asked, “Can I buy you breakfast?”

     “You mean dinner?” 

     “No. I mean breakfast, as in right now.”

     Tiff grinned a closed-mouth smile. “I eat breakfast at 7:30 in the evening.  Remember, I work the red-eye flight every Tuesday.”

     “You’re right, I mean dinner.”

    “I’d love to,” she said, “but I just have enough time to run a few errands before I get my beauty sleep. You also should get some rest and dream sweet dreams, if you can, for me. I gazed at you the complete trip, and not once did you put your paperwork aside.”

     He raised his shoulders. “A man’s got to do what a man has to do, although, I’m not responsible if you obtain added beauty and I can’t resist your smile.”

     She blushed again and jotted her number on a scrap of paper. “Yes, you can buy me breakfast. I set my alarm for 6:00 p.m. on Wednesdays.”

Please feel free to leave any comments or corrections and share these articles plus the blog's website with your friends, especially Beatles’ fans. You and they might also enjoy knowing more about my Love Songs CD and my novel, BEATLEMANIAC. Just click on the “My Shop” tab near the top of this page for full details.

Saturday, November 3, 2018

GOOD NIGHT, AND ITS INCREDIBLE RECORDING PROCESS.


On June 28th, 1968, the Beatles entered EMI Studio Two at approximately 7 pm for what became a very cooperative nine-and-a-half-hour recording session devoted entirely to John's newly written "Good Night," although the song's title wasn't decided upon just yet.  Documentation lists the song as "Untitled" at this stage.
Geoff Emerick ranked as engineer for this session, and he relates his remembrances of this day in his book “Here, There And Everywhere.”  “At the very next session, John surprised us all with the unveiling of his lush ballad 'Good Night.'  Like 'Across The Universe,' the song showed his softer side, a stark contrast to the screamer he had belted out just the night before (“Everybody's Got Something To Hide Except Me And My Monkey”)...There was another surprise:  John had decided to have Ringo sing the lead vocal.  We were all totally caught off guard by that because we'd already recorded what we presumed was going to be the sole Ringo song on the album (“Don't Pass Me By”).  It's hard to imagine that John actually thought Ringo could do a better job on it than he could – he knew as well as anyone that Ringo was no singer.  Perhaps it was that he was embarrassed at singing such a gentle lullaby – maybe it wasn't macho enough for him – or perhaps he made the decision just to keep Ringo happy because he sensed some disquiet in the usually placid drummer.”
Emerick then explains what became the first task of the day.  “John had made a demo for Ringo to take home and practice to, and it was played back a couple of times that night...It's a shame that this particular tape has been lost to the world and that nobody will ever hear the gorgeous way John sang his tender little song.”  As mentioned above, Paul remembered this demonstration by John as occurring there in the studio on this day, saying how “he sang it great” and assumed never recorded.  This confirms that it was indeed recorded and undoubtedly went home with Ringo for him to practice.
The second order of business was rehearsing and then recording five takes of the song, photographic evidence from this day showing the instrumentation being just John on his Epiphone Casino electric guitar and Ringo on vocals.  These photos indicate that the lights were dimmed in the studio and a floor lamp was lit to create a suitable mood for this recorded tender lullaby.  Interestingly, each of the five recorded takes began with an unscripted spoken word introduction by Ringo.  Mark Lewisohn's book “The Beatles Recording Sessions” records what three of these introductions were.  One was “Come on children! It's time to toddle off to bed. We've had a lovely day at the park, and now it's time for sleep.”  Another was “Put all those toys away. Yes, Daddy will sing a song for you!”  And yet another was “Cover yourself up, Charlie. Pull those covers up and off you go to dreamland!”
Some of the rehearsals, as it turned out, featured George Martin on piano instead of John on acoustic guitar.  Geoff Emerick continues: “During the rehearsal run-throughs, John and Yoko stayed up in the control room while the other three Beatles remained down in the studio with George Martin, who played piano while Paul and George Harrison coached their drummer on phrasing and pitching.  That created a unity that had rarely been present in these sessions.  Just getting Yoko out of the studio seemed to lighten the atmosphere tremendously.”
At least one of these run-throughs surfaced on tape and eventually featured on the compilation album “Anthology 3.”  Upon listening, we here George Martin, Paul and George Harrison giving suggestions to Ringo as well as for the arrangement of the song.  It was decided at this point to begin the song with the refrain (“dream sweet dreams for me...”), John giving his approval from the control room with the words “It sounds nice starting like that, anyway.”  George Harrison then suggests starting the vocals directly on the downbeat after the song is counted off, George Martin then asking George to count it off for them, which he then does.  We then are treated to a beautiful performance of George Martin on piano, Ringo on vocals, and someone on light maracas (possibly George Harrison).  Paul then quietly joins in on vocals to guide Ringo when he sings the song's title.
By the end of the session, 'take five' deemed to be the keeper, presumably with John on guitar.  The session was over at 4:30 am the following morning. Although nothing recorded on this day made it to the finished recording, this day was a good brainstorming effort between all four Beatles and George Martin to be built upon on a later date.
July 2nd, 1968, was the next day devoted to working on what John now referred to as “Good Night.”  They arrived at EMI Studio Two at around 6 pm with the sole intention of adding vocal overdubs to the previously recorded 'take five.'  Ringo undoubtedly worked at perfecting his vocals for the song and thereby rerecorded them on this day, Paul and George then adding harmony vocals as well.  All the vocal overdub attempts took the song from 'take 5' to 'take 15.'  At the end of the session, George Martin made two tape copies of the song as it was so far so that he could compose a score for an orchestra and choir.  By 12:15 am the following morning, the session ended.
Nearly three weeks later, July 22nd, 1968, George Martin had the score for “Good Night” complete and ready to go.  The Beatles (or at least Ringo) arrived at the usual 7 pm on this day, this time in the larger EMI Studio One to accommodate the 26 classically trained musicians that would be performing George Martin's score for the song.  The documentation for this day show that a celeste and piano would be made available in the studio for use by George Martin, but since neither instrument appears on the finished product, these may only have been used by him for instructional purposes, if that.
The first quick order of business, however, was the recording of some tinkling piano (undoubtedly from Paul) to be tacked onto the beginning of Ringo's previously recorded song “Don't Pass Me By,” which occurred at approximately 8 pm. Enough time for the orchestra to arrive and get situated with sheet music in front of them, ready for the real work at hand for the day.
A decision was made, undoubtedly by George Martin, to scrap all previous attempts at recording the song in favor of starting again fresh as a complete orchestral performance onto which Ringo would overdub his lead vocals afterward.  Therefore, the previous 'take 15,' with background harmonies from Paul and George and (presumably) acoustic guitar from John, is locked away somewhere on the EMI shelves.
Starting again, at a curious 'take 23,' the orchestra ran through various attempts at performing George Martin's score for “Good Night.”  Seasoned studio musicians as they were, they nailed the perfect performance rather quickly, which ended the orchestral portion of the session at 10 pm.
The next half hour was used to usher out the musicians and bring in eight members of The Mike Sammes Singers (“4 girls, 4 boys,” according to the EMI sheet) to record the sound of a choir.  Four of these singers (Fred Lucas, Pat Whitmore, Irene King, and Mike Redway) had previously vocalized on the track “I Am The Walrus,” so they were already well acquainted with working on a Beatles recording.  However, I'm sure they were relieved to be singing a more conventional performance this time around, instead of vocal swoops and “ho, ho, ho, he, he, he, ha, ha, ha” vocalizations as on the previous track!  By 11:50 pm, these singers completed their duties to George Martin's satisfaction, and they were then free to leave for the evening.  All in all, between the orchestra and the singers, it took twelve takes to get the performance that was used on the finished recording, 'take 34' being the keeper.
Then it was time to record Ringo's lead vocal part.  His impromptu introductions to the song, as toyed around with at the June 28th session, was dropped entirely, although he does conclude the song with a whispered, fatherly “Good night, good night everybody, everybody everywhere, good night.”  Author Mark Lewisohn was treated to a listening of the master tapes from this session in preparation for his book “The Beatles Recording Sessions” and describes this vocal session as “clearly a lot of fun,” Lewisohn hearing “Ringo in fits of laughter between takes and telling jokes aplenty.”  Someone kept the conversations for posterity on a reel of tape entitled “Beatles Chat,” which “also contains a few seconds of Ringo chatting with George Martin and Ken Scott.”
After the perfect Ringo vocal was locked down, and all the tomfoolery was over, the session finally wound to a close at 1:40 am the following morning, the recording of “Good Night” being complete.
The next day (actually later that same day), July 23rd, 1968, six attempts at a mono mix of “Good Night” were made in control room of EMI Studio Two by George Martin and engineers Ken Scott and Richard Lush.  They were deemed unusable, though, and finally improved upon months later.
October 11th, 1968, was the date that the releasable mono and stereo mixes occurred.  George Martin, Ken Scott and engineer John Smith assembled once again in the control room of EMI Studio Two for two attempts at the mono mix; the second one marked best.  They only needed one try at getting a stereo mix, this time deciding to fade in the introduction, unlike the mono which just comes in at full volume.
Sometime in 1996, George Martin and Geoff Emerick returned to the original master tapes of “Good Night” made on its first session, June 28th, 1968, and found a very interesting rehearsal with George Martin on piano and Ringo on vocals.  They decided to include it on the compilation album “Anthology 3” after mixing in the orchestral conclusion to the song as recorded on July 22nd of that year.  The results easily show the beauty of this tender John Lennon composition.
Also, between 2004 and 2006, George Martin and his son Giles returned to these same master tapes to include segments of “Good Night” into tracks used for the album “Love,” which accommodated the Cirque du Soleil show of the same name.  George Martin was proud enough of his orchestral score for the song that he included segments of it on two tracks of this new album, “Octopus's Garden” and “All You Need Is Love.”
The structure for "Good Night" is quite simple, as a good lullaby should be, namely 'verse/ refrain/ verse/ refrain/ instrumental/ verse/ refrain' (or ababcab) with an appropriate introduction and conclusion thrown in.
When George Martin wrote the score for the song, he apparently still thought that his original idea of introducing the song with the refrain was a good one. However, he decided that Ringo shouldn't sing it as he was instructed to back on June 28th, nor should the melody line be played instrumentally.  Instead, the first four measures of the introduction would comprise the chords of the refrain with simple embellishments followed by two measures that feature an identifiable riff reminiscent of the melody line of the first two measures of the verse.  This makes for a lush six measure introduction that works beautifully with Lennon's gorgeous melody.
Next comes the first verse which is eight measures in length.  Ringo's vocals come in directly on the downbeat of the first measure while the arrangement highlights the string instruments predominantly and swells gently in volume as the measures continue.  A somewhat hushed change in atmosphere appears in the four-measure refrain that follows, emphasis on harp and plucked strings allowing for Ringo's simplistic but effective melody line to ring out.  The backing vocalists appear here for the first time as well, repeating “dream sweet dream” in the gap left by Ringo in measure two while also adding choir-like padding in the last two measures.
Then follows the second verse and refrain which are identical to the first in length of measures and overall arrangement.  The backing vocalists, however, sing the entire verse with Ringo this time around as the instrumentalists’ weave differently and more dramatically than before, the results sounding eerily like something from an animated Walt Disney movie.
What then follows is a four-measure instrumental section composed by George Martin that includes ascending stair-step melody lines that differentiate this section with anything else heard in the song.  George Martin must have felt the need to break up the simple sequence of 'verse/ refrain' pairings with something that would change the overall feel and then become a nice segue back into a third 'verse/ refrain' set.  Also interesting is Ringo's simple humming of a George Martin-written melody line to offset the startling progressions played by the instrumentalists in the foreground.
Upon careful listening, the next verse is actually a repeat lyrically of the first verse.  Ringo, however, inadvertently sings the first line of the second verse here instead of the first verse, resulting in him singing “Close your eyes and I'll close mine” on top of the background singers line “Now it's time to say goodnight.”  Ringo then apparently catches himself and sings the correct lyrics for the remainder of this verse, which features a brief reprise of the ascending stair-step melody line from the instrumental section in measures three and four.
An even more hushed refrain follows thereafter, with Ringo faltering a couple of times slightly.  The first time is at the end of the second measure as his voice cracks slightly getting out the words “for me,” and then again as he doesn't quite hit the note right on his first “dream” in the third measure.  The background singers grow more prominently displayed in this final refrain, the last they are heard in the song.
The five-measure conclusion is heard next, the first four measures being a twice-repeated reprise of the final two measures of the introduction, which contain the identifiable melody line that George Martin composed.  The first two measures, however, play this melody line in a somewhat strident fashion, while the second set of measures repeat this melody line in an extremely quiet tone as if to put a child to sleep in his bassinet.  During these hushed measures, Ringo gently whispers “Good night, everybody...everybody, everywhere, good night.”  As if to practice his whispering, Ringo utters a “good night” in measure two of this conclusion as well just before the hushed measures come in.  The fifth and final measure of this conclusion is actually a final ringing chord to finish off the song as well as allow the ninety-three minute “White Album” to fade away as the setting of the sun.
Please feel free to leave any comments or corrections and share these articles plus the blog's website with your friends, especially Beatles’ fans. You and they might also enjoy knowing more about my Love Songs CD and my novel, BEATLEMANIAC. Just click on the “My Shop” tab near the top of this page for full details.


Saturday, October 27, 2018

REVOLUTION 9, AND ITS BIZARRE, EVEN LUDICROUS RECORDING PROCESS.


"Revolution 9" stems directly from their recording of "Revolution 1," which transpired on May 30th and 31st, as well as June 4th, 1968.  (The brass and lead guitar overdub for "Revolution 1" on June 21st did not play a part in "Revolution 9.")

While the majority of what made up “Revolution 9” consisted of tape loops, certain elements of the underlying last six minutes of the original “Revolution 1” did surface on the finished product.  These include John's repeated shouting of the words “Right” and “Alright” along with his moaning during his initial lead vocal performance, as well as his and Yoko's banter that include her off-the-wall phrase “you become naked,” recorded on 'take 18' of the initial rhythm track on May 30th, 1968.

The first day that attention loomed to what we know as “Revolution 9” was June 6th, 1968.  The Beatles had assembled in EMI Studio Two on this day at 2:30 pm for work on Ringo's song “Don't Pass Me By,” this rather extensive work taking until approximately midnight.  Before they left for the evening, however, sound effects had begun being acquired for future use in “Revolution 9.”  Mark Lewisohn's book “The Beatles Recording Sessions” describes the effects John assembled as “some of his own making, others culled from his own and the Abbey Road collections.”

There were twelve of such sound effects compiled on this day, some of which, we can easily assume, were taken directly from the “trusty green cabinet” of the EMI tape library, although some may have been made by Lennon in his home studio beforehand.  George and Ringo presumably retrieved the ones taken from the EMI library as George had indicated in interviews since they were both present on this day and were out of the country when the remaining sound effects were collected.  This means that the “number nine, number nine” tape was acquired on this day.  Engineer Richard Lush remembers:  “The 'number nine' voice came off an examination tape.  John thought that was a real hoot!  He made a loop of just that bit and had it constantly playing on one machine, fading it in or out when he wanted it, along with the backward orchestral stuff and everything else.”  Engineer Stuart Eltham relates:  “Abbey Road used to do taped examinations for the Royal Academy of Music.  The tapes aren't around now.”  Therefore, the identity of the voice appears lost forever.

John had this to say about that particular tape loop:  “The 'number nine...' was an engineer's voice.  They have test tapes to see that the tapes are all right, and the voice was saying: 'This is number nine megacycles...'  I just liked the way he said 'number nine' so I made a loop and brought it in whenever I felt like it...It was just so funny, the voice saying 'number nine,' it was like a joke, bringing 'number nine' in it all the time, that's all it was.  There are many symbolic things about it, but it just happened.”

John elaborated further on the personal significance of this number.  “In June 1952, I drew four guys playing football and 'number nine' is the number on the guy's back, and that was pure coincidence.  I was born on 9th October.  I lived at 9 Newcastle Road.  Nine seems to be my number, so I've stuck with it, and it's the highest number in the universe, after that, you go back to one...It's just a number that follows me around, but numerologically, apparently I'm a number six or a three or something, but it's all part of nine.”

As for the twelve sound effects collected on this day, five of them showed simply labeled as “Various,” the “number nine” recording undoubtedly being one of them.  The other six were labeled as follows:  “Vicars Poems,” “Queen's Mess,” “Come Dancing Combo,” "Organ Last Will Test," “Neville Club,” “Theatre Outing” and “Applause/TV Jingle.”  Note must be taken, though, that not all of these sound effects were necessarily used for “Revolution 9” since some of these became part of the stage adaptation of Lennon's book “In His Own Write,” the London premiere of which was at the Old Vic theatre in London on June 18th, 1968, directed by actor/friend Victor Spinetti.  On this day, however, the session ended after the sound effects were recorded and labeled, the EMI doors apparently closing at 2:45 am the following morning.

The next session concerning “Revolution 9” was June 10th, 1968.  With both George and Ringo absent on this day, they both flying out to America from June 7th to the 18th, John utilized this studio time by himself (with Yoko undoubtedly by his side) to assemble more sound effects for his brainchild “sound collage” masterpiece.  He arrived in EMI Studio Three at 2:30 pm to capture three more sound effects onto tape for eventual use on the finished product, although none of these received labels at the time.  It also appears that none of the effects yet recorded for this track were cut into loops yet, only committed to tape to be cut and spliced together at a future session.  This session was over early, John and Yoko documented to have left the studio at 5:45 pm.

The next day, June 11th, 1968, with George and Ringo still out of the country, both John and Paul assembled in EMI Studios for more work on what became the “White Album.” However, Paul arrived at 6:30 pm and worked alone in EMI Studio Two working on a new composition of his entitled “Blackbird” while John arrived at 7 pm and worked alone (along with Yoko) in EMI Studio Three compiling yet more sound effects for “Revolution 9.”

Producer George Martin had recently acquired a new assistant, the young Chris Thomas, who ultimately got his feet wet by becoming a producer for certain Beatles sessions during the making of the “White Album.”  Engineer Geoff Emerick, in his book “Here, There And Everywhere,” explains: “One by-product of Chris's being there as surrogate producer was that The Beatles – who clearly didn't like being in one another's company anymore – were able to split up into small groups, working simultaneously in two or even all three of the studios in the Abbey Road complex.  This soon became standard operating procedure for much of the rest of the 'White Album.'  It was as if the four band members were so much in separate spaces personally, they wanted to make their record in separate spaces physically.  On those evenings, I would normally work with Paul because I had the best rapport with him...That was the situation on the night that we worked on...'Blackbird.'”

Emerick continues: “Neither Ringo nor George was present on that particular evening, and John wanted to (continue) compiling sound effects for what would ultimately become 'Revolution 9,' so as soon (as) he learned that another studio was available, he decided to head off with Chris Thomas and Phil (McDonald) – accompanied, as usual, by Yoko.  That left George Martin and me alone with Paul, which came as a blessed relief to me after all the stress of the preceding sessions; it always was a lot easier to deal with one Beatle.”

The book “The Beatles Recording Sessions” mentions how surrogate producer Chris Thomas recalls “going with John to find sound effects tapes and helping him make up loops,” so it appears that actual tape loops were now being created for use during the mixing stage of “Revolution 9.”  The sound effects assembled on this day, however, were unnumbered and undocumented, so there is no telling which effects they decided upon during this session.  It did end rather early though; John and Yoko left the studio at around 10:15 pm.

The next session for “Revolution 9” occurred on June 20th, 1968, beginning at 7 pm.  George and Ringo finally returned to the country, and George (but not Ringo) was present on this day, but Paul had flown out to New York at 6 pm, an hour before the session began, and therefore not present.  There was almost no recording session in Beatles history that Paul wasn't present for, but this marked one of them.  However, this wasn't the only reason why this session was especially unique for EMI Studios as Geoff Emerick recalls: “George Martin had booked all three Abbey Road studios for the complicated mix of the sound pastiche known as 'Revolution 9.'...It was just John and a rather unenthusiastic George Harrison working on the track.  The two of them, accompanied by Yoko, would occasionally venture out into the studio to whisper a few random words into a microphone.  Just as we had done when we mixed 'Tomorrow Never Knows' two years previously, every tape machine in the facility was required for the playback of tape loops, with every available maintenance engineer once again standing around in his white coat holding pencils in place.  The big difference was that on this night there was a good deal of resentment among the staff because the session was running quite late – well past midnight – and they wanted to go home.  I didn't blame them; many of them had been there since nine in the morning – they didn't turn up in mid-afternoon like we did.  Plus, the session had to be dead boring for them because they couldn't even hear any sound; they were just standing in the various control rooms, holding pencils while the tape went round and round.  Occasionally one of the loops would break, and they'd have to get on the phone and let us know, which, of course, annoyed John no end.”

John himself recounted this session in 1980:  “There were about ten machines with people holding pencils on the loops – some only inches long and some a yard long.  I fed them all in and mixed them live.  I did a few mixes until I got one I liked...I spent more time on 'Revolution 9' than I did on half the other songs I ever wrote.”

Concerning John's involvement with the mixing stage of this track, Geoff Emerick relates:  “By the time of the 'White Album,' it was not uncommon for various Beatles to sit behind the mixing board alongside me; they were no longer afraid to touch the equipment. On this night John sat with me behind the console like a kid with a new toy.  He was the composer, and he knew what he wanted, so he manned the faders instead of me, although I served as an extra pair of hands, doing bits of panning and looking after the overall level, so things didn't get out of hand and distort.”

“The whole thing was extremely haphazard,” Emerick continues.  “If he'd raise a fader and there was no sound, he'd say, 'Where's it gone?'  A curse word might escape his lips from time to time, but that was about it.  He never really lost his temper that night, though you could tell from his tone of voice that he was getting irritated.  Yoko, as always, was by his side, whispering in John's ear and lifting the odd fader on occasion.  Every once in a while, Lennon would shoot a glance at George Martin and me to see if we approved of what he was doing.  Personally, I thought the track was interesting, but it seemed as though it was as much Yoko's as it was John's.  Certainly, it wasn't Beatles music.”

To identify and/or categorize all of the sound effects that appear in “Revolution 9” is a true Herculean task.  Author and historian Mark Lewisohn, in preparation for writing his book “The Beatles Recording Sessions,” was treated to the experience of actually hearing the source tapes for all of the Beatles recording sessions including this track.  He reveals the following from what he observed:

“A close study of the four-track tape reveals the loops and effects to include:  George Martin saying 'Geoff...put the red light on,' heavily echoed and played repeatedly.  A choir, supplemented by backward violins.  A symphonic piece, chopped up and played backward.  A brief extract of the 10 February 1967 'A Day In The Life' orchestral overdub, repeated over and over.  Backward mellotron (played by John), miscellaneous symphonies and operas.”

Of the classical music pieces heard therein, sources have cited the following as their sources:  Beethoven's Choral Fantasy “The Streets Of Cairo,” Schumann's “Symphonic Studies” (backwards tape), Vaughan Williams motet “O Clap Your Hands,” and the final chord of Sibelius' “Symphony No. 7.”  Also included are Farid al-Atrash's Arabic song “Awal Hamsha” (just after the seven-minute mark), a French horn/Oboe duet, a backward electric guitar, and a tape loop previously used in the Beatles song “Tomorrow Never Knows.” Various straightforward sound effects are also heard, such as gunfire, loud crashing cymbals, crowd laughter, breaking glass, car horns, and a crowd of American football fans chanting “Hold that line / Block that kick!, “some sources citing that they come from an Elektra Records Sound Effects album. All in all, at least 45 different sound sources have been identified.

One interesting element of “Revolution 9” recorded on this day involved John, Yoko, and George.  Mark Lewisohn relates:  “The original tape does indeed show that John and George went on the studio floor to read out bizarre lines of prose – in voices sometimes equally bizarre – into a couple of microphones, abetted by Yoko Ono humming at a very high pitch.  These ran for the duration of 'Revolution 9,' then faded in and out of the master at John's whim.  Among John's random pieces were 'personality complex,' 'onion soup,' 'economically viable,' 'industrial output,' financial imbalance,' 'the watusi,' 'the twist' and 'take this brother, may it serve you well.'  George's contributions included 'Eldorado' and shared with John Lennon and whispered six times over, 'There ain't no rule for the company freaks!'  At the end of their long overdub, still whispering, John said to George, 'We'd better listen to it then, hadn't we?”

Upon listening, it's of interest to hear that after several minutes of fading in and out the large variety of sound effects, John opted to hone in on individual sounds to finish off the track.  After isolating his voice saying “Take this, brother, may it serve you well,” he cut directly to the final section of “Revolution 1” with his and Yoko muttering somewhat incoherent phrases.  Then, just after Yoko's words “you become naked,” he cuts directly into the isolated football crowd chant of “Hold that line / Block that kick” and then fades out the track with this extensive tape loop being the final thing heard.

Engineer Alan Brown explains yet another unintentional effect heard prominently on the finished recording.  “In 'Revolution 9' we had the STEED system of tape echo fed via a tape delay system.  The track ran for so long that there is one point where the delay runs out and you can hear the tape being re-wound, live.  Even that impromptu thing, an accident, contributed to the finished result.”

All in all, this unique recording session ended at 3:30 am the following morning.  Actually accomplished on this day was viewed as assembling the “master version” of “Revolution 9,” not the actual mixing of the track which was to happen the following day (actually later that day).

There were, in fact, two recording sessions on June 21st, 1968 in EMI Studio Two.  The earlier session was primarily for adding brass to John's “Revolution 1” while the second was to mix “Revolution 9” into stereo.  John and George were the only Beatles present on this day and, after an hour break from the end of the first session, they returned for their second session at 10 pm that evening.  Documentation indicates that an additional overdub to “Revolution 9” surfaced at this session, but the identity of the overdub is not known.

John, along with George Martin and engineers Geoff Emerick and Richard Lush, made two attempts at creating this stereo mix in the control room of EMI Studio Two, the second attempt being the keeper.  Mark Lewisohn writes that John “had a marvelous time” working on this stereo mix, “pushing different images through on both channels and panning the words 'number nine' across the stereo in fractions of a second.” John also thought to pan the final “Hold that line / Drop that kick” chanting back and forth repeatedly during most of the closing seconds. The track clocked in at 9:05, the longest Beatles track ever.  With this complete, as well as creating a stereo mix of “Revolution 1,” this session ended at 3:30 am the following morning.

One final thing needed to be done to get “Revolution 9” to its releasable state, and that was accomplished on June 25th, 1968 in the control room of EMI Studio Two by John and the engineering team of Martin, Emerick, and Lush.  A decision was made to edit the previously made stereo master from 9:05 to 8:15, reducing the length to a good degree but still managing to be the longest Beatles track in their released catalog.  This having been done, as well as creating yet another stereo mix of “Revolution 1,” a tape copy of “Revolution 9” was made for John's listening pleasure.  By 8 pm, this session was complete for the day.

Since Paul was not involved in the creating of this recording, most of the time being out of the country, the question remained of what his reaction to the finished “Revolution 9” would be. Geoff Emerick relates: “A few days later, all four Beatles reunited in the studio, and John proudly played the two tracks that he had completed while the rest were away.  I could see from the dark cloud that came over Paul's face that he was totally underwhelmed with 'Revolution 9' when he first heard it, and there was an awkward silence after the track faded out.  John looked at Paul expectantly, but Paul's only comment was 'Not bad,' which I knew was a diplomatic way of saying that he didn't like it. Ringo and George Harrison had nothing to say about the track at all.  They looked distinctly embarrassed, and you could tell that neither one of them wanted to get caught in the middle of this.”

“'Not bad?' Lennon said derisively to Paul.  'You have no idea what you're talking about.  In fact, this should be our next bloody single!  This is the direction The Beatles should be going in from now on.'  Yoko, with an appalling lack of tact, managed to aggravate things further still by blurting out, 'I agree with John. I think it's great.'...Judging from his look of disdain, I was quite sure Paul was thinking, 'You've got to be kidding,' but, to his credit, he didn't rise to the bait and didn't argue...he simply didn't see it as Beatles music, and he certainly didn't agree that it was the direction that The Beatles should go in.”  One can only imagine what would have transpired if John got his way in releasing “Revolution 9” as the next single instead of “Hey Jude”!

The usual custom of the time was to create both a stereo and mono mix for release of each Beatles recording.  The mono mix of “Revolution 9” occurred on August 20th, 1968 in the control room of EMI Studio Three by engineers Ken Scott and John Smith, but not in the usual way.  Since the complicated stereo mix could in no way be duplicated for a separate mono mix, a decision was made to create a straightforward dub of the stereo mix that combined both channels into one.  This was improved upon, though, on August 26th, 1968, by the same engineering team to ready it for release on the mono pressings of the album.

One final process was needed before the final release of the “White Album” was prepared, and that was the track selection and final sequencing of the album.  This was done during a record-breaking 24-hour session at EMI that stretched from 5 pm, October 16th to 5 pm October 17th, 1968.  Decisions were made on this day to omit songs from the album, these turning out to be George's “Not Guilty” and John's “What's The New Mary Jane.”  However, there was also strong consideration for one more omission.  Geoff Emerick writes: “When they were sequencing the 'White Album,' I heard through the grapevine that John and Paul ultimately had a huge row over 'Revolution 9.'  Paul absolutely did not want it on the album, and John was just as adamant that it would be on there.  In the end, of course, he got his way.”

During this sequencing session, however, a decision was made to infuse a quiet introduction to “Revolution 9.”  An interesting recording of a conversation between George Martin and Apple office manager Alistair Taylor was added to the track, then chosen as the opening segment to the entire recording.  Alistair is heard begging forgiveness from George for forgetting to bring a “bottle of Claret” for him.  “Well, do it next time,” George instructs.  “Will you forgive me?” Alistair asks.  After George says “Yes,” Alistair then proceeds to call him a “cheeky bitch!”  The actual date of this spoken word recording has never been documented.

Stop by my blog next week and discover the intricate details showcased upon “GOOD NIGHT.”

Please feel free to leave any comments or corrections and share these articles plus the blog's website with your friends, especially Beatles’ fans. You and they might also enjoy knowing more about my Love Songs CD and my novel, BEATLEMANIAC. Just click on the “My Shop” tab near the top of this page for full details.