In honor of this fiftieth anniversary of the beginning of the British Invasion, www.jackaboutguitars.com is pleased to present another GREAT article from one of the biggest Beatles fans on the planet!
Now, here’s another cool Beatles story from Facebook pal, actor, voice over artist, and writer, Eddie Deezen.
As time and space permit, Jackaboutguitars will continue to share some very cool articles on The Beatles during this fiftieth anniversary celebration year of The Beatles conquering America that Eddie has written for www.eddiedeezen.com – “The Official Eddie Deezen Website” and for neatorama.com where Eddie has done many way cool guest posts on The Beatles and a variety of other people and subjects.
Eddie Deezen is a character actor who is best known for his acting roles in Grease, Grease 2, I Wanna Hold Your Hand, Surf II: The End of The Trilogy, 1941, Zapped!, WarGames, Disney’s Midnight Madness, and Punky Brewster, to name a few, as well as the voice of characters Lenny The Know It All in The Polar Express, Mandark in Dexter’s Laboratory on The Cartoon Network, Ned in Kim Possible, and Snipes The Magpie in Rock-A-Doodle.
Besides all of his Hollywood credits from being a talented character and voice actor, Eddie Deezen is a HUGE BEATLES FAN! His Beatles knowledge is nothing short of amazing.
THE BEATLES SONG NOBODY LIKES BY EDDIE DEEZEN
The Beatles are the most talked about, written about, discussed, analyzed, and dissected group in the history of music. Almost all of the Beatles’ songs are liked by some segment of Beatle fans. The actual “most popular” Beatles song is up for grabs. Various polls on the subject have been conducted, with diverse results.
Some like the love songs, some like the hard rock, some like “John songs,” some prefer the “Paul songs,” some like the later, freakier stuff, and some like the simplicity of the early stuff. But always, in every poll on the subject ever taken, one song stands out, alone and undisputed, as the “least popular” Beatles song of all-time.
It’s hard to actually call “Revolution 9” a song at all. It’s more of a patchwork of sounds, fragments, clips, odd instruments, disjointed voices, tape loops, a weird, eerie collage of what John Lennon and his then-girlfriend called “avant-garde” art (?) and music (?). “Revolution 9” is the penultimate song on the Beatles’ otherwise brilliant and eclectic masterpiece of music The Beatles, otherwise known as “the White Album.”
The Beatles (the White Album) was the band’s 10th album consisting of 30 songs. Although protests came from various quarters about including “Revolution 9” on the album, John remained proud of his strange concoction, proclaiming, “This is the music of the future. You can forget about the rest of the s**t we’ve done. This is it! Everybody will be making this stuff one day!”
Lennon was no Nostradamus.
Recording of “Revolution 9” was begun on June 6th, 1968, continued on June 10th and 11th, and was concluded on June 20th and 21st at Abbey Road Studios. Lennon’s usual writing partner, Paul McCartney, was absent from the sessions, and even if he had been present, it was becoming all too horribly apparent that John had found a new partner anyway, one he liked better.
John’s inseparable relationship with his Japanese artist and gal-pal Yoko Ono took full bloom during the White Album sessions, and, as much as the other three Beatles, producer George Martin, various friends and associates, and countless millions of Beatle fans around the world hated the fact, John and Yoko were to be intertwined for the vast majority of the last 12 years of Lennon’s life.
“Revolution 9” was influenced and inspired mainly by Yoko, and also the recent social disturbances that had cropped up during the early months of 1968. Lennon elaborated about the song: “It was an unconscious picture of what I think will happen when (a revolution) happens.” But later he corrected himself and added, “I thought I was painting in sound a picture of revolution, but I made a mistake. The mistake was that it was anti-revolution.”
Lennon and Ono disliked the negativity and violence of late-sixties