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Tomorrow Never Knows

3 Oct

Tomorrow Never Knows, the monumental closing track on Revolver, was also the first to be recorded for the album.
From Revolution in the Head, by Ian MacDonald:

McCartney states, “What’s often said of me is that I’m the guy who wrote ‘Yesterday‘ or I’m the guy who was the bass player for the Beatles,” he added. “That stuff floats to the top of the water, you know? But I’m also a guy who was really interested in tape loops, electronics and avant-garde music. That just doesn’t get out there on a wide level, but it’s true. I’ve really been fascinated by this stuff.”

The making of “Tomorrow Never Knows”

Alan Pollack discusses Tomorrow Never Knows.

“There are some uncanny parallels to be drawn between aspects of this track and gestures or techniques used elsewhere in the avant garde world of so-called “Modern” twentieth century music. I bring this up not to suggest the Beatles were consciously borrowing from, or being influenced by the specific works or composers in question (Heck, I’d be very surprised if they were even aware of them, even if Paul did know how to drop the name of Stockhausen in an interview :-)) Rather, any such parallels for me are all the more uncanny and ironic in the absence of direct knowledge.”

New Beatles Collection ‘Tomorrow Never Knows’  has Hit iTunes

Read more:

A negative review of the new Beatles collection ‘Tomorrow Never Knows’

Bootleg information here:

Revolver Sessions

Apr 6th 1966 – Studio 3, 8:15pm-1:00am
1. Tomorrow Never Knows – take 1 – backing loop
2. Tomorrow Never Knows – SI onto take 1 – drums & vocal
3. Tomorrow Never Knows – take 3 – bass & drums rhythm track
Apr 7th 1966 – Studio 3, 2:30-7:15pm
4. Tomorrow Never Knows – tape loops
5. Tomorrow Never Knows – SI onto take 3 – loop track
Apr 7th 1966 – Studio 3, 8:15pm-1:30am
6. Got To Get You Into My Life – take 5 – rhythm track
7. Got To Get You Into My Life – SI onto take 5 – vocals
Apr 8th 1966 – Studio 2, 2:30-9:00pm
8. Got To Get You Into My Life – take 8
Apr 11th 1966 – Studio 2, 8:00pm-12:45am
9. Love You To – take 6 – guitar & vocal
10. Love You To – SI onto take 6 – sitar & tabla
11. Love You To – SI onto take 6 – 2nd sitar & fuzz bass
Apr 13th 1966 – Studio 3, 2:30-6:30pm
12. Love You To – SI onto take 7
13. Love You To – mono mix
Apr 13th 1966 – Studio 3, 8:00pm-2:30am
14. Paperback Writer – take 1
15. Paperback Writer – take 2 – rhythm
16. Paperback Writer – SI onto take 2 – lead vocal
17. Paperback Writer – SI onto take 2 – 2nd lead vocal
Apr 14th 1966 – Studio 3, 2:30-7:30pm
18. Paperback Writer – SI onto take 2 – bass
Apr 14th 1966 – Studio 3, 7:30-8:00pm
19. Paperback Writer – mono mix
Apr 14th 1966 – Studio 3, 8:30pm-1:30am
20. Rain – take 5 – rhythm
21. Rain – SI onto take 5 – lead vocal
Apr 16th 1966 – Studio 2, 2:30pm-1:30am
22. Rain – SI onto take 5 – bass & tambourine
23. Rain – SI onto take 5 – 2nd vocal (chorus)
24. Rain – backward vocal reversed
25. Rain – SI onto take 7 – backing vocals
26. Rain – mono mix
Apr 17th 1966 – Studio 2, 2:30-10:30pm
27. Doctor Robert – take 7 – rhythm
28. Doctor Robert – SI onto take 7 – harmonium
Apr 19th 1966 – Studio 2, 2:30pm-12:00am
29. Doctor Robert – SI onto take 7 – lead guitar & vocals

“I have become interested in the use of music as ambience..”

19 Sep

Music for Airports was the first of four albums released in Brian Eno’s “Ambient” series, a term which he coined to differentiate his minimalistic approach to the album’s material and “the products of the various purveyors of canned music”.[6]

The music was designed to be continuously looped as a sound installation, with the intent to diffuse the tense, anxious atmosphere of an airport terminal. Eno conceived this idea while being stuck at Cologne Bonn Airport in Germany in the mid-1970s. He had to spend several hours there and was extremely annoyed by the uninspired sound atmosphere.[7]

It was installed at the Marine Air Terminal of New York’s LaGuardia Airport.

Music for Airports liner notes

These are the liner notes from the initial American release of Brian Eno’s “Music for Airports / Ambient 1”, PVC 7908 (AMB 001)


The concept of music designed specifically as a background feature in the environment was pioneered by Muzak Inc. in the fifties, and has since come to be known generically by the term Muzak. The connotations that this term carries are those particularly associated with the kind of material that Muzak Inc. produces – familiar tunes arranged and orchestrated in a lightweight and derivative manner. Understandably, this has led most discerning listeners (and most composers) to dismiss entirely the concept of environmental music as an idea worthy of attention.

Over the past three years, I have become interested in the use of music as ambience, and have come to believe that it is possible to produce material that can be used thus without being in any way compromised. To create a distinction between my own experiments in this area and the products of the various purveyors of canned music, I have begun using the term Ambient Music.

An ambience is defined as an atmosphere, or a surrounding influence: a tint. My intention is to produce original pieces ostensibly (but not exclusively) for particular times and situations with a view to building up a small but versatile catalogue of environmental music suited to a wide variety of moods and atmospheres.

Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncracies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to `brighten’ the environment by adding stimulus to it (thus supposedly alleviating the tedium of routine tasks and levelling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think.

Ambient Music must be able to accomodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.


September 1978


John Cage is 100

5 Sep

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, and artist. A pioneer of indeterminacy in musicelectroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century.[1][2][3][4]

He remains a palpably vivid presence, still provoking thought, still spurring argument, still spreading sublime mischief. He may have surpassed Stravinsky as the most widely cited, the most famous and/or notorious, of twentieth-century composers. His influence extends far outside classical music, into contemporary art and pop culture.

Read more

He was the ultimate free thinker, the ultimate opener of doors and minds, the ultimate American maverick.

John Cage’s 100th birthday is happening all over Seattle

Official website here.


Björk interviews Arvo Pärt

2 Sep

“You give space to the music…. you can go inside and live there.”

‘Where the Heart Beats,’ John Cage Biography, by Kay Larson

23 Jul

“Where the Heart Beats” is a book about a man learning to use and trust the void. It’s a kind of love story about overcoming the need for love.

“Cage’s music and his interactions have been documented in many other books, but what makes “Where the Heart Beats” different is that it centers first on the ideas behind the work: why he sought them, when he came upon them, and where and how he used them. Only secondarily is it about his notated and copyrighted scores, and Cage’s place within the history of music (if indeed that is the place he ought to occupy).”

How Do We Visualize Music?

10 Jul

In this short film from Streaming Museum’s John Cage Centennial Tribute, Theresa Sauer captures the essence of the project beautifully:

I believe that to be an artist, you must immerse yourself with great passion in all that surrounds you. We can decide if our communication, experiments, processes, and risks that we take have the courage to face being different. But I ask, in my work, the questions — and, as John Cage said, it is about whether the questions are good ones.