Tomorrow Never Knows
"Tomorrow Never Knows" is a song by the English rock band the Beatles. It was released in August 1966 as the final track on their album Revolver, although it was the first song recorded for the LP. Credited as a Lennon–McCartney song, it was written by John Lennon; the song marked a radical departure for the Beatles, as the band embraced the potential of the recording studio without any consideration for being able to reproduce the results in concert. When writing the song, Lennon drew inspiration from his experiences with the hallucinogenic drug LSD and from the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert and Ralph Metzner. On the recording, the Beatles incorporated musical elements that were unconventional in pop music, including musique concrète, avant-garde composition, electro-acoustic sound manipulation; the song features an Indian-inspired modal backing of tambura and sitar drone and bass guitar, with minimal harmonic deviation from a single chord, underpinned by a constant but non-standard drum pattern.
Part of Lennon's vocal was fed through a Leslie speaker cabinet, used as a loudspeaker for a Hammond organ. The song's backwards guitar parts and effects marked the first use of reversed sounds in a pop recording, although the Beatles' 1966 B-side "Rain", which they recorded soon afterwards using the same technique, was issued over three months before Revolver. On release, "Tomorrow Never Knows" was the source of confusion and ridicule for many of the Beatles' less progressive fans and for some members of the music press, it has since been recognised as "the most effective evocation of a LSD experience recorded", in author Colin Larkin's description, as a song that introduced into popular music lyrical themes espousing mind expansion, anti-materialism and Eastern spirituality. It has been cited as an early and influential recording in the psychedelic music and electronic music genres for its pioneering use of sampling, tape manipulation, other production techniques. Pitchfork Media placed the track at number 19 on its list of "The 200 Greatest Songs of the 1960s", Rolling Stone ranked it at number 18 on the magazine's list of the 100 greatest Beatles songs.
John Lennon wrote "Tomorrow Never Knows" in January 1966, with lyrics adapted from the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert and Ralph Metzner, in turn adapted from the Tibetan Book of the Dead. Although Beatles aide Peter Brown believed that Lennon's source for the lyrics was the Tibetan Book of the Dead itself, which, he said, Lennon had read while under the influence of LSD, George Harrison stated that the idea for the lyrics came from Leary and Metzner's book. Paul McCartney confirmed this, stating that when he and Lennon visited the newly opened Indica bookshop, Lennon had been looking for a copy of The Portable Nietzsche and found a copy of The Psychedelic Experience that contained the lines: "Whenever in doubt, turn off your mind, float downstream". Lennon said he bought the book, went home, took LSD, followed the instructions as stated in the text; the book held that the "ego death" experienced under the influence of LSD and other psychedelic drugs is similar to the dying process and requires similar guidance.
This is a state of being known by eastern masters as samādhi. The title never appears in the song's lyrics. Lennon revealed that, like "A Hard Day's Night", it was taken from one of Ringo Starr's malapropisms. In a television interview in early 1964, Starr had uttered the phrase "Tomorrow never knows" when laughing off an incident that took place at the British Embassy in Washington, DC, during which one of the guests had cut off a portion of his hair; the piece was titled "Mark I" and remained so until the Beatles were mixing the Revolver album in June. "The Void" is cited as another working title, but according to Beatles historian Mark Lewisohn, this resulted from Neil Aspinall, one of the band's aides, erroneously referring to it as such in a contemporary issue of The Beatles Book. Lennon said he settled on Starr's phrase "to sort of take the edge off the heavy philosophical lyrics". McCartney remembered that though the song's harmony was restricted to the chord of C, George Martin, the Beatles' producer, accepted it as it was and said it was "rather interesting".
The harmonic structure is derived from Indian music, a genre that Harrison had introduced to the Beatles' sound late in 1965 with his sitar part on "Norwegian Wood", is based on a high volume C drone played on a tambura. The song's musical key is C Mixolydian; the chord over the drone is C major, but some changes to B♭ major result from vocal modulations, as well as orchestral and guitar tape loops. According to author Peter Lavezzoli, the composition is the first pop song to eschew formal chord changes altogether. Despite this limitation, musicologist Dominic Pedler sees the Beatles' harmonic ingenuity displayed in the upper harmonies – "Turn off your mind", for example, is a run of unvarying E melody notes, before "relax" involves an E–G melody-note shift and "float downstream" an E–C–G descent. "It is not dying" involves a run of three G melody notes that rise on "dying" to a B♭, at the start of the verse's fifth bar, creating a ♭VII/I "slash" polychord. Due to Lennon's adherence to Leary's text, "Tomorrow Never Knows" was the first song by the Beatles to depart from any form of rhyming scheme.
"Tomorrow Never Knows" was the fi
The Kingsmen are a 1960s garage rock band from Portland, United States. Their 1963 recording of Richard Berry's "Louie Louie" held the No. 2 spot on the Billboard charts for six weeks and has become an enduring classic. In 1959, Lynn Easton invited Jack Ely to play with him at a Portland Hotel gig, with Ely singing and playing guitar and Easton on the drum kit; the two teenagers grew up together. Easton and Ely performed at yacht club parties, soon added Mike Mitchell on guitar and Bob Nordby on bass to round out the band, they called themselves the Kingsmen, taking the name from a disbanded group. The Kingsmen began their collective career playing at fashion shows, Red Cross events, supermarket promotions avoiding rock songs on their setlist. In 1962, while playing a gig at the Pypo Club in Seaside, Oregon managed by Al Dardis, the band noticed Rockin' Robin Roberts's version of "Louie Louie" being played on the jukebox for hours on end; the entire club would dance. Ely convinced the Kingsmen to learn the song.
Unknown to him, he changed the beat. Ken Chase, host of radio station KISN, formed his own club to capitalize on these dance crazes. Dubbed the "Chase", the Kingsmen became the club's house band and Ken Chase became the band's manager. On April 5, 1963, Chase booked the band an hour-long session at the local Northwestern Inc. studio for the following day. The band had just played a 90-minute "Louie Louie" marathon. Despite the band's annoyance at having so little time to prepare, on April 6 at 10 am the Kingsmen walked into the three-microphone recording studio. In order to sound like a live performance, Ely was forced to lean back and sing to a microphone suspended from the ceiling. "It was more yelling than singing," Ely said, "'cause I was trying to be heard over all the instruments." In addition, he was wearing braces at the time of the performance, further compounding his infamously slurred words. Ely sang the beginning of the third verse several bars too early, but realized his mistake and waited for the rest of the band to catch up.
In what was thought to be a warm-up, the song was recorded in its first and only take. The Kingsmen were not proud of the version; the B-side was "Haunted Castle", composed by the new keyboardist. However, Lynn Easton was credited on both the Wand releases; the entire session cost $50, the band split the cost."Louie Louie" was kept from the top spot on the charts in late 1963 and early 1964 by the Singing Nun and Bobby Vinton, who monopolized the No. 1 slot for four weeks apiece. The Kingsmen single reached No. 1 on No. 2 on the Billboard Hot 100 chart. Additionally it reached No. 1 on the CHUM Canada chart and in the UK it reached No. 26 on the Record Retailer chart. It sold over one million copies, was awarded a gold disc. Wand issued a re-release in 1966 as "Louie Louie 64-65-66" and it re-entered the Billboard Hot 100 at No. 97. The band attracted nationwide attention when "Louie Louie" was banned by the governor of Indiana, Matthew E. Welsh attracting the attention of the FBI because of alleged indecent lyrics in their version of the song.
The lyrics were, in fact, but Ely's baffling enunciation permitted teenage fans and concerned parents alike to imagine the most scandalous obscenities. All of this attention only made the song more popular. In April 1966 "Louie Louie" was reissued and once again hit the music charts, reaching No. 65 on the Cashbox chart and No. 97 on the Billboard Hot 100 chart. In 1985, Ross Shafer, host and a writer-performer of the late-night comedy series Almost Live! on the Seattle TV station KING, spearheaded an effort to have "Louie Louie" replace "Washington, My Home" by Helen Davis as Washington's official state song. Picking up on this prankish effort, Whatcom County Councilman Craig Cole introduced Resolution No. 85-12 in the state legislature, citing the need for a "contemporary theme song that can be used to engender a sense of pride and community, in the enhancement of tourism and economic development". His resolution called for the creation of a new "Louie Louie County". While the House did not pass it, the Senate's Resolution 1985-37 declared April 12, 1985, "Louie Louie Day".
A crowd of 4,000, estimated by press reports, convened at the state capitol that day for speeches and performances by the Wailers, the Kingsmen, Paul Revere and the Raiders. Two days a Seattle event commemorated the occasion with the premiere performance of a new, Washington-centric version of the song written by composer Berry. Over the years the Kingsmen's version of "Louie Louie" has been recognized by organizations and publications worldwide for its influence on the history of rock and roll. Rankings and recognition in major publications and surveys are shown in the table below. Before the success of "Louie Louie", the members of the Kingsmen took varied paths. Easton, whose mother had registered the name of the group and therefore owned it, declared that from this point on he intended to be the singer, forcing Ely to play the drums; this led Jack Ely and Bob Nordby to quit the group in 1963. Don Gallucci was forced out because he wasn't old enough to tour and formed Don and the Goodtimes, which morphed into the short-lived Touch.
Gallucci became a record producer with Elektra Records, with his most famous production being the Stooges' seminal second album Fun House. The two remaining original Kingsmen, Lynn Easton and Mike Mitchell
Can't Get Enough (Bad Company song)
"Can't Get Enough" is a song by the English supergroup Bad Company. Appearing on the band's 1974 self-titled debut album, it is their biggest hit and is considered their most popular song; as a single, this song reached #5 on the Billboard Hot 100 singles chart and #1 on Cashbox magazine's Top 100 Singles chart. The song is frequently played on classic rock radio stations; the song is credited to guitarist Mick Ralphs, who tuned his guitar in the open-C tuning C-C-G-C-E-C. Ralphs stated that "It never sounds right in standard tuning, it needs the open C to have that ring." 7" vinyl45 RPM In 1990 the song was used in a Tony Scott-directed European Levi's commercial titled "Beach". The song features in the film "What the Bleep Do We Know!?". The song was made available to download on November 30, 2010 for use in the Rock Band 3 music gaming platform in both Basic rhythm, PRO mode which allows use of a real guitar / bass guitar, MIDI compatible electronic drum kits / keyboards in addition to vocals.
The song was featured in the 1993 sequel film Wayne's World 2. Lyrics of this song at MetroLyrics
In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. This means occurring frequencies, pitches, or chords; the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect. Counterpoint, which refers to the relationship between melodic lines, polyphony, which refers to the simultaneous sounding of separate independent voices, are thus sometimes distinguished from harmony. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic and jazz, chords are augmented with "tensions". A tension is an additional chord member that creates a dissonant interval in relation to the bass. In the classical common practice period a dissonant chord "resolves" to a consonant chord.
Harmonization sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs; the term harmony derives from the Greek ἁρμονία harmonia, meaning "joint, concord", from the verb ἁρμόζω harmozō, " fit together, join". In the past, harmony referred to the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements: a lower note, it is unclear whether the simultaneous sounding of notes was part of ancient Greek musical practice. In the Middle Ages the term was used to describe two pitches sounding in combination, in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, thought the first work in European history written on the subject of harmony, it was not until the publication of Rameau's Traité de l'harmonie in 1722 that any text discussing musical practice made use of the term in the title, although that work is not the earliest record of theoretical discussion of the topic.
The underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and "contrapuntal". In the words of Arnold Whittall: While the entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence—at times amounting to integration, at other times a source of sustained tension—between the vertical and horizontal dimensions of musical space; the view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory. This is accounted for by the replacement of horizontal composition, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music.
Modern theorists, tend to see this as an unsatisfactory generalisation. According to Carl Dahlhaus: It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type, and harmony comprises not only the structure of chords but their movement. Like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions. For example, South Asian art music is cited as placing little emphasis on what is perceived in western practice as conventional harmony. Pitch simultaneity in particular is a major consideration. Many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of Rāgas, which combines both melodic and modal considerations and codifications within it. So, intricate pitch combinations that sound do occur in Indian classical music—but they are studied as teleological harmonic or contrapuntal progressions—as with notated Western music.
This contrasting emphasis manifests itself in the different methods of performance adopted: in Indian Music improvisation takes a major role in the structural framework of a piece, whereas in Western Music improvisation has been uncommon since the end of the 19th century. Where it does occur in Western music, the improvisation either embellishes pre-notated music or draws from musical models established in notated compositions, therefore uses familiar harmonic schemes. Emphasis on the precomposed in European art music and th
The 32-bar form known as the AABA song form, American popular song form and the ballad form, is a song structure found in Tin Pan Alley songs and other American popular music in the first half of the 20th century. As its alternate name AABA implies, this song form consists of four sections: an eight-bar A section; the core melody line is retained in each A section, although variations may be added for the last A section. Examples of 32-bar AABA form songs include "Over the Rainbow", "What'll I Do", "Make You Feel My Love", "Blue Skies", Willie Nelson's "Crazy". Many show tunes that have become jazz standards are 32-bar song forms. At its core, the basic AABA 32-bar song form consists of four sections, each section being 8 bars in length, totaling 32 bars; each of these 8-bar sections is assigned a letter name, based on its harmonic content. The A sections all share the same melody, the recurring title lyric falls on either the first or last line of each A section; the "B" section musically and lyrically contrasts the A sections, may or may not contain the title lyric.
The "B" section may use a different harmony. For example in the song "I've Got Rhythm", the A sections are in the key of B♭, but the B section involves a circle of fifths series of dominant seventh chords going from D7, G7, C7 to F7. Song form terminology is not standardized, the B section is referred to as the "middle eight", "bridge", or "primary bridge"; the song form of "What'll I Do" by Irving Berlin is as follows: Some Tin Pan Alley songs composed as numbers for musicals precede the main tune with what was called a "sectional verse" or "introductory verse" in the terminology of the early 20th century. This introductory section is sixteen bars long and establishes the background and mood of the number, is musically undistinguished in order to highlight the attractions of the main tune; the sectional verse is omitted from modern performances. It is not assigned a letter in the "AABA" naming scheme; the introductory verse from "What'll I Do" by Irving Berlin is as follows: Gone is the romance, so divine,'tis broken and cannot be mended You must go your way, I must go mine, but now that our love dreams have ended...
In music theory, the middle 8 or bridge is the B section of a 32-bar form. This section has a different melody from the rest of the song and occurs after the second "A" section in the AABA song form, it is called a middle 8 because it happens in the middle of the song and the length is eight bars. In early 20th century terminology, the main 32-bar AABA section, in its entirety, was called the "refrain" or "chorus"; this is in contrast to the modern usage of the term "chorus", which refers to a repeating musical and lyrical section in verse–chorus form. Additionally, "verse," "chorus" and "refrain" all have different meanings in modern musical terminology. See the below chart for clarification: Though the 32-bar form resembles the ternary form of the operatic da capo aria, it did not become common until the late 1910s, it became "the principal form" of American popular song around 1925–1926, with the AABA form consisting of the chorus or the entirety of many songs in the early 20th century. The 32-bar form was used in rock in the 1950s and'60s, after which verse–chorus form became more prevalent.
Examples include: George Gershwin "I Got Rhythm" Jerry Lee Lewis' "Great Balls of Fire" The Everly Brothers' "All I Have to Do Is Dream" The Shirelles' "Will You Love Me Tomorrow" The Beach Boys' "Surfer Girl" Though more prevalent in the first half of the 20th century, many contemporary songs show similarity to the form, such as "Memory", from Cats, which features expanded form through the B and A sections repeated in new keys. Songwriters such as Lennon–McCartney and those working in the Brill Building used modified or extended 32-bar forms modifying the number of measures in individual or all sections; the Beatles, like many others, would extend the form with an instrumental section, second bridge, break or reprise of the introduction, etc. and another return to the main theme. Introductions and codas extended the form. In "Down Mexico Way" "the A sections … are doubled in length, to sixteen bars—but this affects the overall scheme only marginally"; the theme tune of the long-running British TV series Doctor Who has, in some incarnations, followed 32 bar form.
Appen, Ralf von / Frei-Hauenschild, Markus "AABA, Chorus, Prechorus — Song Forms and their Historical Development". In: Samples. Online Publikationen der Gesellschaft für Popularmusikforschung/German Society for Popular Music Studies e. V. Ed. by Ralf von Appen, André Doehring and Thomas Phleps. Vol. 13
Smoke on the Water
"Smoke on the Water" is a song by the English rock band Deep Purple. It was first released on their 1972 album Machine Head. In 2004, the song was ranked number 434 on Rolling Stone magazine's list of the 500 greatest songs of all time, ranked number 4 in Total Guitar magazine's Greatest Guitar Riffs Ever, in March 2005, Q magazine placed "Smoke on the Water" at number 12 in its list of the 100 greatest guitar tracks. "Smoke on the Water" is known for and recognizable by its central theme, developed by guitarist Ritchie Blackmore. It is a four-note blues scale melody in G minor, harmonised in parallel fourths; the riff, played on a Fender Stratocaster electric guitar by Blackmore, is joined by hi-hat and distorted organ the rest of the drums electric bass parts before the start of Ian Gillan's vocal. Blackmore claimed that the riff is an interpretation of inversion of Symphony No. 5 by Ludwig van Beethoven, that "I owe him a lot of money". The opening lyrics are: Jon Lord doubles the guitar part on a Hammond C3 organ played through a distorted Marshall amp, creating a tone similar to that of the guitar.
Blackmore plays the main riff using a finger pluck or a plectrum upstroke. During an August 1972 show in Tokyo, Blackmore played the intro as follows: ------------------------------------------- ------------------------------------------- ------------------------------------------- ------8-10_----8-11-10__------8-10_-8------ ---10-8-10_-10-8-11-10__---10-8-10_-8-10__- ---10-------10-------------10---------10__- There are two solos in the song; the lyrics tell a true story: on 4 December 1971, Purple were in Montreux, Switzerland, to record an album using a mobile recording studio at the entertainment complex, part of the Montreux Casino. On the eve of the recording session, a Frank Zappa and The Mothers of Invention concert was held in the casino's theatre; this was to be the theatre's final concert before the casino complex closed down for its annual winter renovations, which would allow Deep Purple to record there. At the beginning of Don Preston's synthesizer solo on "King Kong", the place caught fire when somebody in the audience fired a flare gun toward the rattan covered ceiling, as mentioned in the "some stupid with a flare gun" line.
Although there were no major injuries, the resulting fire destroyed the entire casino complex, along with all the Mothers' equipment. The "smoke on the water" that became the title of the song referred to the smoke from the fire spreading over Lake Geneva from the burning casino as the members of Purple watched from their hotel. "It was the biggest fire I'd seen up to that point and ever seen in my life" said Glover. "It was a huge building. I remember there was little panic getting out, because it didn't seem like much of a fire at first. But, when it caught, it went up like a fireworks display"; the "Funky Claude" running in and out is referring to Claude Nobs, the director of the Montreux Jazz Festival who helped some of the audience escape the fire. Left with an expensive mobile recording unit and no place to record, the band was forced to scout the town for another place to set up. One promising venue was a local theatre called The Pavilion, but soon after the band loaded in and started working/recording, neighbours took offence at the noise.
The band was only able to lay down backing tracks for one song. After about a week of searching, the band rented the nearly-empty Montreux Grand Hotel and converted its hallways and stairwells into a makeshift studio, where they laid down most of the tracks for what would become their most commercially successful album, Machine Head; the only song from Machine Head not recorded in the Grand Hotel was "Smoke on the Water" itself, recorded during the abortive Pavilion session. Its lyrics were composed primarily by Gillan and based around Glover's title, the vocals were recorded in the Grand Hotel; because of the incident and the exposure Montreux received when "Smoke on the Water" became an international hit, Purple formed a lasting bond with the town. The song is honoured in Montreux by a sculpture along the lake shore with the band's name, the song title, the riff in musical notes; the new casino in Montreux displays notes from the riff as decoration on its balustrade facing the gambling hall.
On the Classic Albums episode about Machine Head, Ritchie Blackmore claimed friends of the band were not fans of the "Smoke on the Water" riff, which they thought too simplistic. Blackmore retorted by making comparisons to the first movement of Beethoven's 5th Symphony, which revolves around a similar four note arrangement."The amazing thing with that song, Ritchie's riff in particular," observed Ian Paice, "is that somebody hadn't done it before, because it's so gloriously simple and wonderfully satisfying." "Smoke on the Water" was included on Machine Head, released in early 1972, but was not released as a single until a year in May 1973. The band members have said
"Evil Ways" is a song made famous by Mexican-American rock band Santana from their 1969 debut album Santana. It was written by Clarence "Sonny" Henry and recorded by jazz percussionist Willie Bobo on his 1967 album Bobo Motion. Alongside Santana's release in 1969, "Evil Ways" was recorded by the band The Village Callers; the lyrics of the song are written in simple verse form. Released as a single in late 1969, it became Santana's first top 40 and top 10 hit in the US, peaking at number nine on the Billboard Hot 100 singles chart on March 21, 1970. Gregg Rolie performs the lead plays a Hammond organ solo in the middle section; the double-time coda includes a guitar solo performed by Carlos Santana, who does the backing vocals. Johnny Mathis released the song as a single in 1970, it made the Cash Box survey at number 118, appeared on MOR music surveys in Billboard and Record World. Jazz saxophonist Stanley Turrentine covered the song as a smooth jazz fusion on his album The Man with the Sad Face, released in 1976.
Latin rapper Mellow Man Ace sampled this track and used it as the main melody for his single "Mentirosa". Filipino rapper RapAsia sampled this track and used it as the main melody for his Tagalog single "Hoy! Tsismosa" for the self-titled album of the same name, it was released in the Philippines by Viva Records. Alternative rock jam band Rusted Root performed "Evil Ways" on the soundtrack of the 1995 film Home for the Holidays. Alex Gimeno sampled the riff from "Evil Ways" in his track "Funky Bikini" from his musical project titled Ursula 1000; the song was used in the 2001 film The Fast and the Furious, named in the credits. On first pressings of both Santana's debut album and the single release, the songwriting credit was given to Jimmie Zack. Zack was a minor rockabilly artist out of the Midwest who recorded a song with the same title in 1960, credited as Jimmie Zack and the Blues Rockers, however, it was not the same song as recorded by Santana. Lyrics of this song at MetroLyrics