Revolution 4u Album Download Zip

In early 1968, media coverage in the aftermath of the Tet Offensive spurred increased protests in opposition to the Vietnam War, especially among university students.[6] The protests were most prevalent in the United States, and on 17 March, 25,000 demonstrators[7] marched to the American embassy in London's Grosvenor Square and violently clashed with police.[8] Major protests concerning other political issues made international news, such as the March 1968 protests in Poland against their communist government,[9] and the campus uprisings of May 1968 in France.[10] The upheaval reflected the increased politicisation of the 1960s youth movement and the rise of New Left ideology, in a contrast with the hippie ideology behind the 1967 Summer of Love.[11] For these students and activists, the Maoist idea of cultural revolution, purging society of its non-progressive elements, provided a model for social change.[12][13]

The Beatles began the recording sessions for their new album on 30 May, starting with "Revolution 1" (simply titled "Revolution" for the first few sessions). At this first session, they concentrated on recording the basic rhythm track. Take 18 lasted 10:17, much longer than the earlier takes, and it was this take that was chosen for additional overdubs recorded over the next two sessions.[28] The full take 18 was officially released in 2018, as part of the Super Deluxe Edition of The Beatles coinciding with the album's fiftieth anniversary.[29]

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The bootlegged recording starts with engineer Peter Bown announcing the remix as "RM1 of Take ..." and then momentarily forgetting the take number, which Lennon jokingly finishes with "Take your knickers off and let's go!"[38] The first half of the recording is almost identical to the released track "Revolution 1". It lacks the electric guitar and horn overdubs of the final version, but features two tape loops in the key of A (same as the song) that are faded in and out at various points.[37][better source needed] After the final chorus, the song launches into an extended coda similar to that in "Hey Jude". (The album version only features about 40 seconds of this coda.) Beyond the point where the album version fades out, the basic instrumental backing keeps repeating while the vocals and overdubs become increasingly chaotic: Harrison and Paul McCartney repeatedly sing "dada, mama" in a childlike register; Lennon's histrionic vocals are randomly distorted in speed (a little of this can be heard in the fade of "Revolution 1"); and radio tuning noises la "I Am the Walrus" appear.[39] Several elements of this coda appear in the officially released "Revolution 9".[citation needed]

"Revolution 1" was released on The Beatles on 22 November 1968.[74][75] It was the opening track on side four of the LP, four spots ahead of the companion piece "Revolution 9".[76] In an interview following the album's release, Harrison said that "Revolution 1" "has less attack and not as much revolution" as the single B-side, and described it as "the Glenn Miller version".[77] The lyric sheet included with the original LP carried the words "count me out", without the appended "in".[78]

Until the events of summer 1968, political activists and far left publications in the US distanced themselves from rock music and had no expectations of its relevance to their cause.[107] According to historian Jon Wiener, "Revolution" inspired the first "serious debate" about the connection between politics and 1960s rock music.[108] The counterculture's reaction was especially informed by news footage of the violent scenes outside the Democratic National Convention on 28 August, and of Soviet tanks invading Czechoslovakia,[63] which marked the return of Soviet-style communism and the end of the Prague Spring.[65][109] The song prompted immediate responses from the New Left and counterculture press,[110][111] most of whom expressed disappointment in the Beatles.[112][113] Radicals were shocked by Lennon's use of sarcasm, his contention that things would be "all right", and his failure to engage with their plight.[114] They also objected to his requirement for a "plan" for the revolution, when their aim was to liberate minds and ensure that all individuals entered the decision-making process as a means of personal expression.[115] Ramparts branded the song a "betrayal" of the cause[111] and the Berkeley Barb likened it to "the hawk plank adopted this week in the Chicago convention of the Democratic Death Party".[14][116] In Britain, the New Left Review derided the song as "a lamentable petty bourgeois cry of fear",[111] while Black Dwarf said it showed the Beatles to be "the consciousness of the enemies of the revolution".[117] The far left contrasted "Revolution" with the Rolling Stones' concurrent single, "Street Fighting Man",[102] which Mick Jagger had been inspired to write after attending the violent rally at Grosvenor Square in March.[118][119] Despite the ambiguity in Jagger's lyrics, "Street Fighting Man" was perceived to be supportive of a radical agenda.[8][120]

Among the political right, William F. Buckley Jr, an arch-conservative, wrote approvingly of the song, only to then be rebuked by the far-right John Birch Society's magazine.[126][127] The magazine's editors warned that, rather than denouncing revolution, "Revolution" was urging Maoists not to "blow it all" through their impatience and was espousing a Lenin-inspired, "Moscow line".[127][nb 5] In reaction to the song and to Lennon and Ono's performance art activities,[128] the British authorities withdrew the protection they had long afforded the Beatles as MBEs.[129][130] On 18 October, Lennon and Ono were arrested on charges of drug possession;[131] Lennon maintained he had been warned of the raid and that the drugs were planted by the arresting officers from the London Drug Squad.[132]

Rock critics also entered the political debate over "Revolution",[53] whereas politics had rarely been a subject of interest in their field before 1968.[133] Greil Marcus commented that political detractors of "Revolution" had overlooked the "message" of the music, "which is more powerful than anyone's words".[78][102] He added: "There is freedom and movement in the music even as there is sterility and repression in the lyrics. The music doesn't say 'cool it' or 'don't fight the cops' ... the music dodges the message and comes out in front."[102][134][nb 6] Ellen Willis of The New Yorker wrote that the Rolling Stones understood the "ambiguous relation of rock to rebellion", but "It takes a lot of chutzpah for a multimillionaire to assure the rest of us, 'You know it's gonna be all right' ... Deep within John Lennon there's a fusty old Tory struggling to get out."[135][nb 7] Rolling Stone editor Jann Wenner wholeheartedly supported the Beatles,[136] saying that any accusations of "revolutionary heresy" were "absurd", since the band were being "absolutely true to their identity as it has evolved through the last six years".[137] In his review of the White Album, Wenner added: "Rock and roll has indeed become a style and a vehicle for changing the system. But one of the parts of the system to be changed is 'politics' and this includes 'new Left' politics."[138]

The English pop band Thompson Twins recorded "Revolution" for their 1985 album Here's to Future Days, which was co-produced by Nile Rodgers.[188] On 13 July that year, in advance of the album's release, the band performed the song with Rodgers,[189] Madonna and guitarist Steve Stevens at the concert held at JFK Stadium in Philadelphia that formed the US part of Live Aid.[190] The concert was watched by a television audience estimated at 1.5 billion[191] and raised $80 million for African famine relief.[192] In a 2017 interview, Thompson Twins singer Tom Bailey said that, having grown up in the 1960s when music was "about social change and making the world a better place", he now believed that it had become "tamed by the corporate world" and Live Aid represented "the last great moment of rock and roll fist waving for change".[193]

"Revolution" was one of three tracks on Here's to Future Days to feature Stevens on guitar and was first released in September 1985.[194] It was subsequently issued as a single, backed by the non-album instrumental "The Fourth Sunday".[195] The band made a promotional video for the single, directed by Meiert Avis.[194] The song peaked at number 56 on the UK Singles Chart, spending five weeks on the chart.[196] In 2004, the Live Aid performance of the song was included on the four-disc DVD release from the event.[192]

Along with White Album tracks such as "Revolution 9", "Helter Skelter" and "Piggies",[201] "Revolution 1" was interpreted by Californian cult leader Charles Manson as a prophecy of an upcoming apocalyptic racial war between the establishment and the Black community that would leave him and his followers, the Manson Family, to rule America on counterculture principles. In an attempt to initiate this revolution, the Family carried out a series of murders in Los Angeles in August 1969.[202][203] For the soundtrack of the 1976 TV film Helter Skelter, "Revolution 1" was performed by the band Silverspoon.[204]

I dunno though. To me that final verse is the killer. If you go carrying pictures of chairman Mao was spot on. Thank God some Pop star with a big megaphone blew that raspberry in the faces of the New Left. And those who preached revolution at the time hated that line too. But John was right. (And the Stones whose STM was hardly more sympathetic.)

"Revolution 9" is a recorded composition that appeared on the Beatles' 1968 eponymous LP release (popularly known as The White Album). The sound collage, credited to Lennon-McCartney, was created primarily by John Lennon with assistance from George Harrison and Yoko Ono. Lennon said he was trying to paint a picture of a revolution using sound. The composition was influenced by the avant-garde style of Ono as well as the musique concr?te works of composers such as Edgard Var?se and Karlheinz Stockhausen (whom Paul McCartney was listening to in 1966, and inspired McCartney's ideas for "Tomorrow Never Knows" on The Beatles' album Revolver). e24fc04721