History Trivia / TheWhiteAlbum

1st Nov '17 9:51:55 PM bt8257
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* WriterRevolt:
** "Revolution 1" was recorded first and John intended it to be a single, but Paul and George criticised it for being "too slow to be a single".[[note]] Lennon's acoustic demo version was uptempo, but when they recorded "Revolution 1" a few weeks later he elected to slow it down. Paul and George have both gone on record saying that they thought the demo was superior to all the subsequent released versions, though it's missing the Chairman Mao verse.[[/note]] In retaliation, John arranged a much faster, more heavily distorted and aggressive take of "Revolution", that ended up becoming the single instead.
** As Giles Martin said on the sleeve-notes for ''Love'', "even today it defines 'distortion'". John was in fact in such a "you want it louder and faster? I'll show you louder and faster!" mood when the single was recorded that he added some deliberately sloppy vocal overdubs and plugged his guitar directly into the mixing console to get a harsher sound and supplied the opening MetalScream, and engineer Geoff Emerick added so much compression to Ringo's drums that he inadvertently made the click track audible.

to:

* WriterRevolt:
**
WriterRevolt: "Revolution 1" was recorded first and John intended it to be a single, but Paul and George criticised it for being "too slow to be a single".[[note]] Lennon's acoustic demo version was uptempo, but when they recorded "Revolution 1" a few weeks later he elected to slow it down. Paul and George have both gone on record saying that they thought the demo was superior to all the subsequent released versions, though it's missing the Chairman Mao verse.[[/note]] In retaliation, John arranged a much faster, more heavily distorted and aggressive take of "Revolution", that ended up becoming the single instead.
**
instead. As Giles Martin said on the sleeve-notes for ''Love'', "even today it defines 'distortion'". John was in fact in such a "you want it louder and faster? I'll show you louder and faster!" mood mood, that when the single was recorded that recorded, he added some deliberately sloppy vocal overdubs and plugged his guitar directly into the mixing console to get a harsher sound and supplied the opening MetalScream, and engineer Geoff Emerick added so much compression to Ringo's drums that he inadvertently made the click track audible.audible.
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17th Oct '17 6:39:13 PM ManicDepressiveMouse
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** The revelation in the last verse of "Ob-La-Di, Ob-La-Da" that Desmond is a WholesomeCrossdresser is the result of Paul mixing up the lyrics during recording (as is evident from the demo version). It stayed in because the rest of the band liked it.

to:

** The revelation in the last verse of "Ob-La-Di, Ob-La-Da" that Desmond is a WholesomeCrossdresser is the result of Paul mixing up the lyrics during recording (as is evident from the demo version). It stayed in because the rest of the band liked it.it (or were sick of working on the song, which none of them liked very much).
17th Oct '17 6:37:57 PM ManicDepressiveMouse
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Added DiffLines:

** The revelation in the last verse of "Ob-La-Di, Ob-La-Da" that Desmond is a WholesomeCrossdresser is the result of Paul mixing up the lyrics during recording (as is evident from the demo version). It stayed in because the rest of the band liked it.
9th Oct '17 3:52:05 PM Q4
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* HitlessHitAlbum: No singles were taken from it when it was first released ("Ob-La-Di, Ob-La-Da" was belatedly released by Capitol in the US in 1976 but only got to #49 on the Billboard Hot 100).

to:

* HitlessHitAlbum: No singles were taken from it when it was first released ("Ob-La-Di, Ob-La-Da" was belatedly released by Capitol in the US in 1976 but only got to #49 on the Billboard Hot 100).100 Also in 1976, "Back In The USSR" was a UK single to promote the "Rock & Roll Music" compilation, reaching #19).
7th Feb '17 5:23:26 AM CumbersomeTercel
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* WriterRevolt: "Revolution 1" was recorded first and John intended it to be a single, but Paul and George criticised it for being "too slow to be a single".[[note]] Lennon's acoustic demo version was uptempo, but when they recorded "Revolution 1" a few weeks later he elected to slow it down. Paul and George have both gone on record saying that they thought the demo was superior to all the subsequent released versions, though it's missing the Chairman Mao verse.[[/note]] In retaliation, John arranged a much faster, more heavily distorted and aggressive take of "Revolution", that ended up becoming the single instead.\\
\\
As Giles Martin said on the sleeve-notes for ''Love'', "even today it defines 'distortion'". John was in fact in such a "you want it louder and faster? I'll show you louder and faster!" mood when the single was recorded that he added some deliberately sloppy vocal overdubs and plugged his guitar directly into the mixing console to get a harsher sound and supplied the opening MetalScream, and engineer Geoff Emerick added so much compression to Ringo's drums that he inadvertently made the click track audible.

to:

* WriterRevolt: WriterRevolt:
**
"Revolution 1" was recorded first and John intended it to be a single, but Paul and George criticised it for being "too slow to be a single".[[note]] Lennon's acoustic demo version was uptempo, but when they recorded "Revolution 1" a few weeks later he elected to slow it down. Paul and George have both gone on record saying that they thought the demo was superior to all the subsequent released versions, though it's missing the Chairman Mao verse.[[/note]] In retaliation, John arranged a much faster, more heavily distorted and aggressive take of "Revolution", that ended up becoming the single instead.\\
\\
instead.
**
As Giles Martin said on the sleeve-notes for ''Love'', "even today it defines 'distortion'". John was in fact in such a "you want it louder and faster? I'll show you louder and faster!" mood when the single was recorded that he added some deliberately sloppy vocal overdubs and plugged his guitar directly into the mixing console to get a harsher sound and supplied the opening MetalScream, and engineer Geoff Emerick added so much compression to Ringo's drums that he inadvertently made the click track audible.
7th Feb '17 5:22:49 AM CumbersomeTercel
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* TroubleProduction: The sessions in late 1968 found the Beatles largely working alone with whatever engineers they had handy and spending hours jamming with no results. The tense atmosphere and lack of productivity caused their longtime engineer Geoff Emerick to quit halfway through, and even George Martin felt he had to take a vacation. It pretty much marked the point when the arguments and fights that would later break up the band first reared their ugly head. The atmosphere was so bad Ringo even left the band for a couple of days, leading Paul to play drums in both "Back in the USSR" and "Dear Prudence".

to:

* TroubleProduction: TroubledProduction: The sessions in late 1968 found the Beatles largely working alone with whatever engineers they had handy and spending hours jamming with no results. The tense atmosphere and lack of productivity caused their longtime engineer Geoff Emerick to quit halfway through, and even George Martin felt he had to take a vacation. It pretty much marked the point when the arguments and fights that would later break up the band first reared their ugly head. The atmosphere was so bad Ringo even left the band for a couple of days, leading Paul to play drums in both "Back in the USSR" and "Dear Prudence".
31st Jan '17 8:39:52 AM CumbersomeTercel
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Added DiffLines:

* WorkingTitle: ''A Doll's House''.
31st Jan '17 8:00:31 AM CumbersomeTercel
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** Although the band kept it together throughout the recording for the album (its initial sessions were remarkably harmonious and cooperative) and managed to complete two more following it, this album is where the rot began to set in, with band members drifting apart, egos beginning to get out of control and outside influences beginning to take their toll; the observation has frequently been made that this is reflected in the overall tone of the album, which feels more like a compilation of solo efforts rather than a collaborative effort. Many of the songs were in fact recorded by one of the band working individually with perhaps a minimal amount of involvement from one of the others at most, others featured contributions but not the entire band lineup, and the final result was assembled through overdubbing.\\
\\
There were, however, songs on which all the band members were present and recorded simultaneously ("Helter Skelter" and "Happiness Is a Warm Gun" among others), and the experience of recording "Yer Blues" in a large closet in the control room of Abbey Road Studio Two later influenced the abortive first attempt to record ''Music/LetItBe''. George Martin's waning authority and the use of multiple rooms left a lot of the album recorded by the band members alone with Abbey Road engineers.

to:

** Although the band kept it together throughout the recording for the album (its initial sessions were remarkably harmonious and cooperative) and managed to complete two more following it, this album is where the rot began to set in, with band members drifting apart, egos beginning to get out of control and outside influences beginning to take their toll; the observation has frequently been made that this is reflected in the overall tone of the album, which feels more like a compilation of solo efforts rather than a collaborative effort. Many of the songs were in fact recorded by one of the band working individually with perhaps a minimal amount of involvement from one of the others at most, others featured contributions but not the entire band lineup, and the final result was assembled through overdubbing.\\
\\
overdubbing.
**
There were, however, songs on which all the band members were present and recorded simultaneously ("Helter Skelter" and "Happiness Is a Warm Gun" among others), and the experience of recording "Yer Blues" in a large closet in the control room of Abbey Road Studio Two later influenced the abortive first attempt to record ''Music/LetItBe''. George Martin's waning authority and the use of multiple rooms left a lot of the album recorded by the band members alone with Abbey Road engineers.


Added DiffLines:

* TroubleProduction: The sessions in late 1968 found the Beatles largely working alone with whatever engineers they had handy and spending hours jamming with no results. The tense atmosphere and lack of productivity caused their longtime engineer Geoff Emerick to quit halfway through, and even George Martin felt he had to take a vacation. It pretty much marked the point when the arguments and fights that would later break up the band first reared their ugly head. The atmosphere was so bad Ringo even left the band for a couple of days, leading Paul to play drums in both "Back in the USSR" and "Dear Prudence".
23rd May '15 7:47:48 AM harryhenry
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* CreatorBacklash: Amusingly averted, in that while George Martin and many of the technicians who worked on the album felt it was too long and ought to be cut down to a single album, the Beatles themselves disagreed. When questioned about it for the ''Anthology'', George's response was "What are you going to do with all them songs?", and mentioned that by that point there was "too much ego" for the band to be able to properly decide what songs to keep and what to leave off. Paul's response was the funniest: he thinks about it, concedes that ''maybe'' there's some justice to the idea that it could have been shorter, then admits that he likes how long it is and cheerfully ends the debate with "[[SmugSuper It's the bloody Beatles' White Album, shut up!]]"
** Session musician Jack Fallon was also dissatisfied with the improvisation at the end of "Don't Pass Me By", though it was left in the song.

to:

* CreatorBacklash: CreatorBacklash:
**
Amusingly averted, in that while George Martin and many of the technicians who worked on the album felt it was too long and ought to be cut down to a single album, the Beatles themselves disagreed. When questioned about it for the ''Anthology'', George's response was "What are you going to do with all them songs?", and mentioned that by that point there was "too much ego" for the band to be able to properly decide what songs to keep and what to leave off. Paul's response was the funniest: he thinks about it, concedes that ''maybe'' there's some justice to the idea that it could have been shorter, then admits that he likes how long it is and cheerfully ends the debate with "[[SmugSuper It's the bloody Beatles' White Album, shut up!]]"
** Session musician Jack Fallon was also dissatisfied with the improvisation at the end of "Don't Pass Me By", though it was left in the song.



* CreativeDifferences: Although the band kept it together throughout the recording for the album (its initial sessions were remarkably harmonious and cooperative) and managed to complete two more following it, this album is where the rot began to set in, with band members drifting apart, egos beginning to get out of control and outside influences beginning to take their toll; the observation has frequently been made that this is reflected in the overall tone of the album, which feels more like a compilation of solo efforts rather than a collaborative effort. Many of the songs were in fact recorded by one of the band working individually with perhaps a minimal amount of involvement from one of the others at most, others featured contributions but not the entire band lineup, and the final result was assembled through overdubbing. There were, however, songs on which all the band members were present and recorded simultaneously ("Helter Skelter" and "Happiness Is a Warm Gun" among others), and the experience of recording "Yer Blues" in a large closet in the control room of Abbey Road Studio Two later influenced the abortive first attempt to record ''LetItBe''. George Martin's waning authority and the use of multiple rooms left a lot of the album recorded by the band members alone with Abbey Road engineers.

to:

* CreativeDifferences: CreativeDifferences:
**
Although the band kept it together throughout the recording for the album (its initial sessions were remarkably harmonious and cooperative) and managed to complete two more following it, this album is where the rot began to set in, with band members drifting apart, egos beginning to get out of control and outside influences beginning to take their toll; the observation has frequently been made that this is reflected in the overall tone of the album, which feels more like a compilation of solo efforts rather than a collaborative effort. Many of the songs were in fact recorded by one of the band working individually with perhaps a minimal amount of involvement from one of the others at most, others featured contributions but not the entire band lineup, and the final result was assembled through overdubbing. \\
\\
There were, however, songs on which all the band members were present and recorded simultaneously ("Helter Skelter" and "Happiness Is a Warm Gun" among others), and the experience of recording "Yer Blues" in a large closet in the control room of Abbey Road Studio Two later influenced the abortive first attempt to record ''LetItBe''.''Music/LetItBe''. George Martin's waning authority and the use of multiple rooms left a lot of the album recorded by the band members alone with Abbey Road engineers.



* HitlessHitAlbum: No singles were taken from it when it was first released ("Ob-La-Di, Ob-La-Da" was belatedly released by Capitol in the US in 1976 but only got to #49 in Billboard).
* MissingEpisode: The 27 minute version of "Helter Skelter" is the most notable example having never been released officially or on any bootlegs, but a number of songs were recorded with the intention of being put on (or recorded during the sessions of) this album, most of which are heavily bootlegged (such as a full version of "Can You Take Me Back") or included on ''The Beatles Anthology'' ("What's the New Mary Jane?"). One track that had only just found its way onto bootlegs in 2010 was a ten minute recording of the version of "Revolution 1" that ended up on the album, which largely provides the basis of "Revolution 9".

to:

* HitlessHitAlbum: No singles were taken from it when it was first released ("Ob-La-Di, Ob-La-Da" was belatedly released by Capitol in the US in 1976 but only got to #49 in Billboard).
on the Billboard Hot 100).
* MissingEpisode: MissingEpisode:
**
The 27 minute version of "Helter Skelter" is the most notable example having has never been released officially or on any bootlegs, but a number of songs were recorded with the intention of being put on (or recorded during the sessions of) this album, most of which are heavily bootlegged (such as a full version of "Can You Take Me Back") or included on ''The Beatles Anthology'' ("What's the New Mary Jane?"). One track that had only just found its way onto bootlegs in 2010 was a ten minute recording of the version of "Revolution 1" that ended up on the album, which largely provides the basis of "Revolution 9".



* WriterRevolt: "Revolution 1" was recorded first and John intended it to be a single, but Paul and George criticised it for being "too slow to be a single".[[note]] Lennon's acoustic demo version was uptempo, but when they recorded "Revolution 1" a few weeks later he elected to slow it down. Paul and George have both gone on record saying that they thought the demo was superior to all the subsequent released versions, though it's missing the Chairman Mao verse.[[/note]] In retaliation, John arranged a much faster, more heavily distorted and aggressive take of "Revolution", that ended up becoming the single instead. As Giles Martin said on the sleeve-notes for ''Love'', "even today it defines 'distortion'". John was in fact in such a "you want it louder and faster? I'll show you louder and faster!" mood when the single was recorded that he added some deliberately sloppy vocal overdubs and plugged his guitar directly into the mixing console to get a harsher sound and supplied the opening MetalScream, and engineer Geoff Emerick added so much compression to Ringo's drums that he inadvertently made the click track audible.

to:

* WriterRevolt: "Revolution 1" was recorded first and John intended it to be a single, but Paul and George criticised it for being "too slow to be a single".[[note]] Lennon's acoustic demo version was uptempo, but when they recorded "Revolution 1" a few weeks later he elected to slow it down. Paul and George have both gone on record saying that they thought the demo was superior to all the subsequent released versions, though it's missing the Chairman Mao verse.[[/note]] In retaliation, John arranged a much faster, more heavily distorted and aggressive take of "Revolution", that ended up becoming the single instead. \\
\\
As Giles Martin said on the sleeve-notes for ''Love'', "even today it defines 'distortion'". John was in fact in such a "you want it louder and faster? I'll show you louder and faster!" mood when the single was recorded that he added some deliberately sloppy vocal overdubs and plugged his guitar directly into the mixing console to get a harsher sound and supplied the opening MetalScream, and engineer Geoff Emerick added so much compression to Ringo's drums that he inadvertently made the click track audible.
29th Jan '15 5:46:59 PM bt8257
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* ThrowItIn: A few instances of StudioChatter are left between songs (most notably, "The Continuing Story of Bungalow Bill" ends with John saying "Hey, up!" and "Helter Skelter" has Ringo shouting "I HAVE BLISTERS ON MY FINGERS!")

to:

* ThrowItIn: A few instances of StudioChatter are left between songs (most notably, "The Continuing Story of Bungalow Bill" ends with John saying "Hey, up!" and "Helter Skelter" has Ringo shouting "I HAVE GOT BLISTERS ON MY FINGERS!")
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http://tvtropes.org/pmwiki/article_history.php?article=Trivia.TheWhiteAlbum