The work culminated on 20 June, with Lennon performing a live mix from tape loops running on machines in all three studios at EMI Studios, but during the live mix, the STEED system ran out and the sound of the tape machine rewinding can be heard at the 5:11 mark and additional prose was overdubbed by Lennon and Harrison. He began preparing additional sound effects and tape loops: some newly recorded in the studio, at home and from the studio archives. Lennon soon decided to make the first part of the recording into a conventional Beatles song, " Revolution 1", and to use the last six minutes as the basis for a separate track, "Revolution 9". with Yoko talking and saying such off-the-wall phrases as 'you become naked', and with the overlaying of miscellaneous, home-made sound effects tapes." with discordant instrumental jamming, feedback, John repeatedly screaming 'RIGHT' and then, simply, repeatedly screaming. Mark Lewisohn describes the last six minutes as "pure chaos. Take 20 of that song lasted more than ten minutes and was given additional overdubs over the next two sessions. "Revolution 9" originated on during the first recording session for Lennon's composition " Revolution". In the 2011 documentary George Harrison: Living in the Material World, Ono says that "George, John and I made " and that Harrison "sort of instigated it" and pushed them to create the piece. In his book about the Beatles' White Album, titled Revolution, David Quantick lists Lennon, Ono and Harrison as the "actual writers", despite the Lennon–McCartney composer's credit. Authors Chip Madinger and Mark Easter write that the content of Harrison's lesser-known experimental piece " Dream Scene", recorded between November 1967 and February 1968 for his Wonderwall Music album, suggests that Harrison had a greater influence on "Revolution 9" than has been acknowledged. In a 1992 interview for Musician magazine, George Harrison said that it was he and Ringo Starr who selected the sounds, sourced from EMI's tape library, including the "Number nine, number nine" dialogue. I got intrigued, so I wanted to do one." Ono attended the recording sessions and, according to Lennon, helped him select which tape loops to use. Lennon said: "Once I heard her stuff – not just the screeching and howling but her sort of word pieces and talking and breathing and all this strange stuff. Lennon and Ono had recently recorded their own avant-garde album, Unfinished Music No. Īnother influence on Lennon was his relationship with Yoko Ono. Music critic Ian MacDonald wrote that "Revolution 9" may have been influenced by Stockhausen's Hymnen in particular. Stockhausen was also a favourite of Lennon, and was one of the people included on the Sgt. McCartney said the work was inspired by composers Stockhausen and John Cage. The group had introduced avant-garde styling in their 1966 song " Tomorrow Never Knows" and, in January 1967, they recorded an unreleased piece called " Carnival of Light". "Revolution 9" was not the first venture by the Beatles into experimental recordings.
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