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crimson moon Group

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Zinovy Abramov
Zinovy Abramov

English Song Sex Revolution Mp4 Video Song

The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.

English song Sex revolution mp4 video song

"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.

At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time.[1] Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 10th "biggest" song of all time in terms of chart success.[2] McCartney has continued to perform "Hey Jude" in concert since Lennon's murder in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.

I started with the idea "Hey Jules," which was Julian, don't make it bad, take a sad song and make it better. Hey, try and deal with this terrible thing. I knew it was not going to be easy for him. I always feel sorry for kids in divorces ...[3]

In May 1968,[4] John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono.[5] The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian,[6] at Kenwood, the family's home in Weybridge.[7] Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963;[8] McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life".[3] Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us."[9] The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation.[5] McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".[3]

The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible.[16][17] In support of his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but amidst growing tensions, the couple soon moved out.[18][19] McCartney presented "Hey Jude" to Lennon on 26 July,[20] when he and Ono visited McCartney's home.[21] McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song."[22] McCartney retained the phrase.[5][nb 2] Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him.[20] In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.[21]

Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express.[23] Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself".[24] McCartney and Asher had announced their engagement on 25 December 1967,[25] yet he began an affair with Linda Eastman in June 1968;[26] that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood.[27][28] When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.[29][nb 3]

Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'"[29] Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."[31]

Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album".[32][33] The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side.[34][35] The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.[36]

The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968,[32] with George Martin as their producer.[37] These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks).[32] The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session,[38] have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.[39][40]

The 30 July rehearsals were filmed for a short documentary titled Music!,[41][42] which was produced by the National Music Council of Great Britain.[43] This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio.[21] The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room,[44] with Martin and EMI recording engineer Ken Scott.[45][nb 4] During the rehearsals that day,[45] Harrison and McCartney had a heated disagreement over the lead guitar part for the song.[38] Harrison's idea was to play a guitar phrase as a response to each line of the vocal,[47] which did not fit with McCartney's conception of the song's arrangement, and he vetoed it.[48][49] Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period.[50] In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure."[49] Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios,[51] said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.[52][nb 5]

On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine,[44] played by Starr.[59] McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!"[56] They then added a 36-piece orchestra over the coda, scored by Martin.[48] The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses.[59] According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?"[60] During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.[61]

The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!"[48] Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song;[62] one of the label's first signings, Jackie Lomax, also recalled participating.[63]

"Hey Jude" was the first Beatles song to be recorded on eight-track equipment.[58] Trident Studios were paid 25 per hour by EMI for the sessions. Sheffield said that the studio earned about 1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable.[64] The band carried out further work at Trident during 1968,[65] and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.[66][nb 6]


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