• =?UTF-8?Q?Pseudo_Audio_Verit=C3=A9=2C_Roman_Echoes?=

    From Curtis Eagal@21:1/5 to All on Wed Jan 19 23:59:04 2022
    The feedback sound opening for "I Feel Fine" was discovered by accident, but the fact it was recreated for the actual recording was downplayed, preferring that people felt they were experiencing that initial unexpected sound result; news reports
    described the effect as the buzz of an electric razor. There was a note to set off the feedback audio loop, and with practice they could reproduce it with some consistency. The main musical feature of the song was a driving guitar riff, but an alternate
    version opened with heavily reverbed muttering; and as the tune fades, a single canine barks in a 2-3-1 pattern.

    Neither subjective appreciation of instrumental virtuosity nor musicological reduction to mathematical concepts can follow the process hinted at in interviews, where the band members suggested what they recorded could be self-explanatory on a
    supraliminal level, rather than literally intending much from the actual lyrics. Vocals would have subtle twists, but the arrangement was usually the means of unorthodox communication. The triggering note sounds like '-The' and the ensuing feedback
    noise provides a hard 'O' vowel, as in 'ROME': that followed by a trailing note into the riff, before any lyric is sung, implies,


    Listen closely to the moan John Lennon gives before the instrumental middle section (which includes phrases deviating from the riff) - it appears enunciated as,


    The same meaningful moan is delivered twice in the coda, while the dog barking in its first phrase supplies,

    'Rome's Dogs...'

    Another instance where something produced with great effort was presented as a spontaneous ordinary moment was the count-in to "Taxman" opening both the song and the "Revolver" album. It sounds like the guitarists are preparing to perform, and there is a
    cough demonstrating a casual atmosphere - but it was produced as an edit piece lasting scant seconds. The guitars seeming to be tuned, squeaking and squealing, appear to carry a message: for the Seven Ancient Wonders tangent, this could be,

    'The Best...'
    'THINGS -'
    'Were Ancient'

    Along the Christian tangent, the subject appears the betrayal by Judas, but the exaggerated articulation of the guitar work (the second phrase sounds somewhat 'watery') makes the sequence sound like something they probably did not plan -

    'In GREEK,'

    This can be heard more clearly using headphones. Two percussive crashes in "I'm Only Sleeping" implies, the word 'Temple,' with Paul McCartney playing bass before and after suggesting, 'For Di-a-na.' About twenty seconds into "Love You To," the sitar
    plays a phrase suggesting,

    'The Ancient
    Was Designed To

    Then, before the riff enters to commence the thunderous raga, elaborating,

    'For it was constructed
    -From- Stone - Blocks...'

    Peter Fonda's relating a near-death experience provided the "I know what it's like to be dead" portion of "She Said She Said," but feeling as though one were never born was said by Christ to be a better fate than what awaited His betrayer.

    The "special cup" referred to in "Doctor Robert" should indicate nothing less than The Holy Grail.

    The tune mentioning Seven Wonders, "And Your Bird Can Sing," also brought back the Roman theme, as the guitar can be heard after the repetition of the lyric "You don't get me" playing (as a reiterated fragment),

    'Before The RO-Mans!'

    The betrayal caused Jesus to be turned over to the Romans, and this is reflected in the coda where the musical rhythm is sustained yet the melodic content alters into a variation implying,

    'Iscariot betrayed Him,
    Iscariot betrayed Him,
    Iscariot betrayed Him with -'

    Then the thumping bass seems to finish the thought,

    'A Kiss -
    On The Mouth'

    Another incident of pretend-spontaneity that was a carefully created edit piece is the laughter closing "Within You Without You," which George Harrison explained at the time of release as intending a bit of a relief after five minutes of long, sad Indian
    music (though some thought it could have been weeping). It sounds like the band members (possibly as the imaginary Pepper crowd) guffawing, gasping, chuckling and murmuring within a few seconds, aurally suggestive of a complete verbal sentence to
    alternately confirm the song's subliminal theme.

    In Sanskrit "Rita" relates to moral principles, but the meter maid song using that as a name descends into lascivious panting and groaning: a hint of the underlying deliberate logic arrives at the end with John Lennon's command, "Just leave it!" The
    message is really about rejection of some dogma as an obsession with arbitrarily defining spiritual mysteries, not the overt erotic fantasy about a patrolwoman issuing parking citations.

    Reference to the Romans arrived again in the opening for the song "Revolution," where a fast passage is roared on electric guitar three times, then a few other notes are used before the vocals; of course, Paul McCartney screams during this sequence,
    which was evocative of the turmoil evident in 1968. The roared sequence that is tripled starts like,


    The notes after the full repetitions suggest,


    Appending the phrase with that is a callback to other Roman references in their songs, even though as a regression those would have concerned scenes that would not yet have transpired in the subliminal narrative.

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